Wednesday, September 11, 2019

Chronotextuality


An alternate line break scheme for Genesis 6-4:
“There were giants in the earth in those days;
and also after that, when the sons of God came in unto the daughters of men, and they bare children to them,
the same became mighty men which were of old, men of renown.”

By reframing the line breaks of Genesis 6-4, a new chronology of the relationship between humans, giants, and Heaven emerges. In line with the origins of language in Vico’s New Science, the giants were pre-existent on the Earth (of the Earth). As opposed to read the sons of God as being the giants, the giants can be read as the men and their daughters, with whom the sons of God bore children with. The relevance of this is a reimagining of the Fall, in tune again with Vico. Neither the giants nor Heaven existed with any chronology, Heaven being perfect and unchangeable and the giants being in perfect harmony with the Earth, as the men of innocence. From this, we find the meaning of the prohibition of the fruit of knowledge, becoming like God - interbreeding with the sons of God. That this produces the “men of renown” (heroes) it is shown to produce humanity after the fall. After the fall, harmony is gone from humanity, thus putting them in eternal conflict, being of two halves, the giant and the angel, Earth and Heaven, both with perpendicular aims and thus generating eternal conflict. It is this which creates time by generating violence, events, war, other things which create narrative, one event worth recording after another. Hence, the origins of heroics as being the fall - the first narrative, the first temporal being.

The dreams of moving beyond this symbolize the most foundational character of the conflict generated here. The animalistic meditation practices of esoteric-war, where nomadic becoming-animal is pursued to attempt to restore the state of giantism to humanity, the Vatican’s triumphal production, the Chronovisor secretly housed in the Vatican archives (and never once used for its intended purpose, as such a holy visage would strike with burning power to destroy papist eyes, the profane false image produced belying the nature of roman popery), which attempts to undo time and freeze in place the moment of ultimate heavenly glory.

This notion is taken up at its results by Joseph Beuys, with his concept of human creativity/potential and Social Sculpture. By imagining human via their “potential” or “creativity” in regards to the creation of an immense text, where every act is an act of writing upon this text (the “Social Sculpture”), Beuys shows the image of heroic humanity. Just as conflictual movement begets temporality, narrative is conflictual movement. The Social Sculpture is formed in this way, a sculpture formed by the indefinitely many interlocking narratives writing atop one another, forming a single text in aggregate.

Explicating the Social Sculpture is taken up by the practice of chorography. In John Stow’s survey of London, accumulated memories, records, histories, all manner of human actions accumulating atop one another in tells is recorded and written, forming a complete picture of the author-function time itself is able to have in crafting a text such as the city of London. In turn, by creating a text within which its authors exist, the text is mutated in rewriting as each new generation interprets and rewrites according to that interpretation that text, in their various human-geographic movements and patterns through the city.

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