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The Futurica Trilogy
The first three books by Alexander Bard & Jan Söderqvist: The Netocrats, The Global Empire and The Body Machines.
This in turn means that we need a new, informationalist explanatory model for how words, thoughts and ideas arise and are formed, and above all for how they are interpreted and altered over time; how communication between bodies and media occur and above all what consequences this process has for our new, dividual identity. Precisely such a de-personified explanatory model has also emerged in parallel with digital technology, which is the foundation of the ongoing paradigm shift, and it is called memetics. We have already written extensively about this research field numerous times from many different angles (see The Futurica Trilogy). Memetic theory – which explains how words, thoughts, ideas and cultural components of various kinds multiply and are modified according to the same Darwinian selection principles that also regulate how genes multiply and are modified within biological systems – was launched in an essay by Ted Cloak in 1975 and popularised in exhaustive detail by Richard Dawkins in the book The Selfish Gene one year later. It was also Dawkins who coined the term meme for this replicator which is active within the sociocultural biotope and which is selfish in the same sense that the selfish gene is selfish, that is, its primary interest, if we allow ourselves to reason with the aid of an anthropomorphic image, is to multiply itself through dissemination to the greatest possible extent. It wants to infect the world.
If we conceive of a relationalist version of semiotics and memetics, in the same way as a relationalist version of the natural sciences, it must be based on a deep understanding of the largest unit and then build downwards towards the smallest, instead of the classical reductionist obsession of semiotics and memetics with the little sign or the little meme, which is presumed to explain everything that goes on higher up in the hierarchy. According to the writing of the history from the point of view of information technology, the necessary point of departure is that Man is the constant and technology is the variable. For Man, this means that technology drives a paradigm (see The Futurica Trilogy), a plane that sooner or later has its structure studied and explained by a metaphysics that is already initially logically built-in but tacit, and is only formulated and engineered after the fact. Metaphysics then shapes the conditions for the ideology that is tied to the paradigm, the sign-interpreting narrative that prepares you for choosing, the narrative about why things necessarily are the way they are. The ideology in turn consists of large, sluggish blocks called fictions – consciously created narratives about current people and their relationships to the world around them, in contrast to the necessarily subconscious ideology – where the nimble and smallest components of fictions are called fictives (see The Global Empire), a kind of network-dynamics cousin to the signs of semiotics and the memes of memetics, and accordingly also the fundamental component in the paradigm hierarchy.
Nietzsche’s idea-archaeology project leads to a powerful recognition of nature’s enormous rather than Man’s minimal power over both the elements and the mind. With Nietzsche, Nature has of course not only the last word about itself, it is also Nature that acts through Man regardless of what this subject, as with Kant, imagines about itself. What would the subject be otherwise, if not in fact a portion of Nature? This means that Nietzsche transposes ethics into an open issue of what culture is possible on top of such a dominating and framing Nature. It is thus in culture that we find the affirmative in Nietzsche’s affirmative nihilism: a cultural concept that Nietzsche transforms, in a pioneering way, from Nature’s opposite into an emergent phenomenon arising out of otherwise indifferent Nature. According to Nietzsche, culture is nothing other than an engaged extension of Nature – or as we express the matter in The Futurica Trilogy: Culture is Nature 2.0. Only by bravely attempting to build culture on top of Nature, rather than to just yield to Nature, can Man procure an ethical substance.
In the second part of the Futurica Trilogy, The Global Empire, we describe in detail how the perceptive eternalisation of the mobilist chaos of existence is necessary in order for us to be able to act, while mobilism is eternalism’s always present, demonic shadow. In that sense, ontology is the secondary eternalisation of the primary mobilism, the presentation of the unpresentable as a schematic model, the objectification of the emptiness of the void. This perception transforms the multiplicity into functional fictives; models that the mind must be allowed to tinker with in order to be able to mobilise an overview and organise a meaningful and relevant activity at all. Badiou puts the eternalisation of the phenomenon on an equal footing with the mathematisation of existence. Infinity takes precedence over finitude, ontology is the same thing as mathematics. He then continues to the need for the situation, Badiou’s concept for the structured presentation of the multiplicity, a kind of consolidating theatrical performance of sundry fictives. Only in the right situation is the truth event possible, argues Badiou. He is inspired here by both St Paul and Vladimir Lenin: for these thinkers, the timing is not just a matter of strategic necessity: it also has a significant ethical dimension. Waiting for the right moment for the action faithful to the truth is an important component in Badiou’s ethics: the timing is a central aspect of the loyalty itself.
The will to know is Man’s instinctive reaction to the trauma of extinction, his almost exorcistic attempt to expel this existential tormentor. At a deep level, the philosopher must realise that he is already dead; philosophy is not an affirmation of nor a justification for anything, but rather just one more by-product of the drive in its eternally revolving repetition of the same. But this does not prevent the will to know, the game of hide-and-seek with Pantheos, at some point from achieving a result that can influence the expression of the drive. The clearest example of such an effect of the will to know is technological development. Technology is what has developed most dramatically during the course of history; the development that has had the most far-reaching consequences, and is more a kind of ironic by-product with its origin in the incessant ravages of the drive. Technology quite simply changes the rules of the game in the social arena in a way that is, to say the least, radical. This is precisely what the books in the Futurica Trilogy are about. Now we are taking that argument one step further, and moreover in a new direction.
Last modified 7. August 2016 at 00:05:58