Živa Božičnik Rebec

“There is a strange isomorphism between Kant's transcendental philosophy, Modernity and (post)capitalism; a diagonal line that each time re-examines the relationship between objects and the conditions of their possibility, thus only deepening the immanent process at work and eliminating all illegitimate authorities within it. Therefore, it is a critique in the transcendental sense – the substitution of one frame for another – in which what escapes perception is precisely the display frame or time itself. 

Like the bishop (or Sonic) on the chessboard, you are faced with objects that are not only hypermodern but part of modernity itself: they are the consequence and cause of its engine and part of its speculative and engineering nature. Their indeterminacy, incompleteness and absolute virtuality testify precisely to this temporal suspension or to the fact that they are unfinished objects that have yet to be realised (whose existence has yet to be earned). 

At the heart of cognitive archaeology, you encounter/crash into cognigrams in an absolutely materialistic sense; cyphers for the realisation of our future state, which can only be achieved through the abolition of existing categories and the realisation of new ones. Through a diagonal line that pursues superposition, where there is not only one past and one future but a multiplicity of them, encoded as potentialities or different temporalities in which we humans find ourselves either on the verge of the posthuman age or extinction.”

-Maks Valenčič

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