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Fiction
A cohesive memetic narrative, which temporarily yet resolutely gives the memes their seemingly logical place within the prevailing memeplex. The fiction can be divided into smaller fictives to great effect and several fictions piled on top of each other support a subconscious ideology which enables the gradual growth of a cohesive paradigmatic metaphysics.
However, it is the eternalistic background that is the real chimera in this context. To take one example, there are of course lots of local subsystems but no isolated systems anywhere in the Universe. This means that all the theories that require the existence of isolated systems collapse sooner or later. As a consequence of this, it is pointless to go further into physics with theory building that is not background-independent, because if they are the least dependent on a fixed eternalised background, these theories do not hold up to closer scrutiny. In fact, the Universe displays no need whatsoever for fixed backgrounds. The eternalist background is merely a fiction, the last remnant of the Abrahamic and Platonist fantasy of the God that precedes the Creation. But such a God of course does not exist, as we know. He died. The Universe does not need the eternalist background any more than it needs God the creator. Whitehead, Bohr, Barad and Smolin understand this, and their predecessor Leibniz understands it much earlier, but it turns out that this is something so extremely hard to accept for Einstein, who both idolises and is intoxicated by mathematics, which explains why from the point of view of the philosophy of science he clings onto relativism and is not able to move on to relationalism.
Note how the relationships between each step, just like when it comes to all forms of relationalist hierarchies, must be understood of course as emergent rather than reductionist. The fiction is not built into the fictives beforehand; it seems to always deliver something extra over and above the fictives in themselves. In the same way, the ideology is not built into the fictions in advance; it always appears as something more and extremely attractive over and above the fictions. And it is precisely these emergent qualities that keep us adamantly embedded in the ideological memeplex in question – every new level adds yet another layer of a kind of compact mysticism to the growing metanarrative, not least in the big step from the seemingly open and therefore creative fictions to the obviously concealed ideology, which brings us to a standstill – which explains why our relationship to the outermost framework of memeplexes, the metaphysical, can never be anything but humbly subservient. Even our relationship to a created syntheist god – a deliberately named projection surface vis-à-vis an indisputably real phenomenon in the surrounding world that we must relate to, that is, fiction par excellence – must subordinate itself to this premise. This is precisely because no memes exist outside memetics, just as no signs exist outside semiotics. Nor are there any fictives – and in turn fictions constructed from these, and in turn ideologies constructed from these – nor are there in turn any credible metaphysical systems deduced from these ideologies that stand outside the current information technology paradigm.
There is an infinite number of agents at an infinite number of levels. According to the mobilist Spinoza, the consequence is that it is the prime task of ethics to maximise potentia agendi, every current agent’s potential. Here memetics comes into the picture and provides us with an excellent, non-linear alternative to Cartesianism’s linear world view. Instead of a subject that is manifested as an individual through giving full expression to its ideas, we get a memeplex that materialises as an agent by invading and occupying a body. It is and has always been our thoughts that control us, instead of the other way around. There is no subject beyond or behind the mental activity that is driven by memes. What is amazing is not that there is a little subject somewhere inside the brain – in the form of a man or woman staring at his or her own cinema screen, on which the incoming stimuli from his or her perception apparatuses are projected, and who then makes and executes decisions based upon the received information (which thus is a fiction manufactured by himself or herself) – but that the brain is so clever that it produces the illusion of a subject which the body harbours for its own survival’s sake.
Last modified 7. August 2016 at 00:05:58