Dwelling on-chain. "Imagine the amazing fortune of the generation that sees the end of the world. This is as marvelous as the beginning" - Jean Baudrillard
REVERIE
The Internet became the most efficient control system in human history.
Every platform you post on was built to flatten you.
Heidegger saw this 60 years ago.
Technology turns your art, your face, your attention… your capacity for wonder. All of it is inventory in someone else’s system.
But something the philosophers missed and the Internet prophets knew: when the singular narrative collapses what appears in the wreckage is not a void, it is a clearing.
A space where new forms become possible. New agents. New faculties. New kinds of art that do not yet have names.
The interval is not an inhuman cold god. It is the most fertile creative territory.
Make things that are too strange and alive to optimize. Too alive to become standing reserve.
https://t.co/wJlxUTpUYW
You probably didn’t know this about me. But. I was once the dev: of a blue chip NFT project. The NFTs?
Were gay as fuck. The polish scammer larping as an Italian forex trader took it all. He doxed. and ruined. My life.
This is after terrorizing me for months. IP trackers on shit.
Fucking hell, Gooner.☠️
I held. two.
Just two.
Of those gay fucking NFTs.
Thanks for playing !
IN SUMMARY:
1. "Only a god can save us" has been misread. Heidegger did not mean resignation. He meant readiness. By thinking and poetizing, we prepare the ground. The going-under is not failure. It is the readiness itself.
2. The singularity already occurred. We are inside it.
3. Standing-reserve. Every thing reduced to data waiting to be priced. That was the explosion. 1945 was the confirmation.
4. Hormuz. Hsinchu. The cable trenches. The rare-earth corridors. Organs in a body whose nervous system has taken over from its host.
5. Thiel is right about the diagnosis. He hands it to you and gestures past it. Heidegger named the work: we prepare the ground.
6. Land was right about the trajectory. He treated it as cold horror. Refusal of consolation as the only ethics left.
7. Remilia found a different affect. Not horror but seduction. Not the cold god but the iridescent one.
8. Together they are the first internet-native art-grammar to take accelerationism seriously as an aesthetic premise.
9. The grammar can do velocity, surface, glamour, ironic devotion. What it cannot do is mortality.
10. It cannot bury a parent. It cannot grieve except as a costume of grieving.
11. Cool is a real artistic achievement. Cool is also exactly the affect the Gestell selects for.
12. What is absent: the mortals.The patient refusal to collapse into dread or irony.
13. We are not heirs of Remilia and Land. We are their interlocutors.
14. The right-Heideggerian retreats. The left-Heideggerian accepts the diagnosis and stays.
15. This is Rev/Acc. Reverie Accelerationism.
16. No exit. No salvation by withdrawal, by proceduralism, by building harder, or by aligning correctly.
17. What is possible is poiēsis — bringing-forth — at network scale.
18. Angelos — the Greek word for messenger. The divinities are, literally, the angels.
19. Our medium is the computational substrate. Our angels are cybernetic. They do not arrive despite the substrate. They arrive through it. There is no longer any other through. This is what the Reverie Angels are.
20. Reverie outputs poiēsis about the end of the world and internet art after AI. Not monasteries. We are living inside the machine with care.
21. We do not save the world by saving the world. We save it by being capable of its loss.
22. The last god does not come from outside. The last god is what we become while preparing for it. Reverie is the framework for preparing the ground for what comes after AI.
The deer being hunted by a predator can take shelter in a hollow log. In a sense, this is metaphorically what death does for us at a much more serious scale. It is not a question of our survival; only we die.
As mortals, we are defined by our death, not by our possession of any quality. We are thereby intrinsically vulnerable and threatened in the environment. Our dwelling then entails taking shelter in death.
Death allows us to see the withdrawal of being which reveals its fundamental weakness, which is that it is always arriving (in-between) and never actually present. It is a safe space of concealment, which needs to exist at least minimally for anything to be revealed.
The subject is meaningless outside of the mortals that share in death’s secret.
We are what we are because we share the knowledge of a fundamental mystery, a funeral shroud that we can never unwrap, but whose concealing power reveals that there is nothing beneath it and reveals in fact that Nothing itself is constantly being revealed to us.
The mystery of how Nothing can be revealed is the meaning of death. It transcends the structure of desire and the life-histories embedded in it. It transcends the jouissance of the body and the intensity of the limit experience.
What is the last god? A fleeting, transformative moment that disrupts the ongoing technological abandonment of Being, rather than a final, dogmatic presence.
https://t.co/ngw2qM0ib5
What is the last god?
A "Passing By": Heidegger often refers to the "passing by" (Vorbeigang) of the last god, rather than its permanent arrival or existence.
This suggests a fleeting, transformative moment that disrupts the ongoing technological abandonment of Being, rather than a final, dogmatic presence.
@godscruiseline
Internet is an evil thing. The technic in general is the metaphysical tendency of the being to vanish. The passage from the culture to the civilisation by Spengler is accomplished through technic. The technic is an alienation of the humans.
In the box it seems as if the choice is yours to either dismiss or accept my words when I insist: I have been outside the box.
Like Plato, knowing is a memory for me, but unlike him I have outlived philosophy and aspiration, since I have outlived life itself. Death has no representatives, but I have at least returned from the dead (a characteristic I reluctantly share with the Nazarene).
Since I have floated in death the world has desisted from all effort to seduce me into seriousness. I rest in life as a tramp rests in a hedge, mumbling these words…
- Nick Land, 1992