Whereas the history of metaphysics was inscribed through routinised cycles—the passage of the sun, calendrical structures, programs that generate rhythm from repetitions, imprinting the character of being-in-the-world—these externalised cycles have accumulated across succeeding generations, converged and inverted through the programmaticity of the present: a ‘play of the void’. The stellar course that is the mystery of the ambiguous horizon coincides with a destining conducted by cybernetics (“steering”) that is a pharmakological play of limits. By following the telematic-stellar course we arrive at a spectral horizon that is barely distinguishable (barely to art, barely to philosophy), a haunted space in which calculation and play become indistinguishable.
Thus the revelation of contemporaneity: the limit is beyond the limit, revealed to consciousness as phantasmagoria that spectralise at the crystalline edge. A play of lights that overflow. A surplus infinity that disarticulates the instruments of knowing, projecting a sensual knowing-no-thing that escapes from necessity and in so doing enables consciousness to assume its cosmic character in a relational passion of care.
Consciousness, as such, emptied of conceptualisation, negates technological programmaticity. In pharmakologically tracing the limits of reality—construed according to its informational limit-state—it delays the articulation of all and any limit, making a break at the horizon between embodied conceptuality and its emptiness. By tracing the play by which this horizon is made susceptible to the gaze—through the spectralisation at the interface of infinite space—we open onto that negative space of conceptualisation such that consciousness can pass-through.
This is the site for the spectral poiesis of passage because it is the horizon of light-time (both as limit-state of informational transmission and signifier of cosmotechnical temporality insofar as it appears to phenomenal consciousness). The poiesis of this interface—that would open-up along this horizon—has a luminous resonance. Just as the reciprocal nature of light and sight qua chiasm constitutes the ontological event that comes to resonance not by the acting of ‘obscure forces’ but by their emptying, so the interface can be opened and emptied so as to allow it the free space in which to resonate. The resonance that occurs in this free space, devoid of those forces that hold the psycho-cosmic body in panicked tension, is an emergence consistent with a direct ontology that passes-through dependent causality. Through the empty space of the threshold of being, it is an opening towards the enstatic.
In consciousness, this luminous reverberation maintains relational correspondence with perceptual affectivity, such that the optical spectrality that plays out along this shattered threshold produces ‘active visioning’. Techniques of gazing qua crystallisation unite prophetic and enstatic visioning. This luminous diagrammatics traces that which surpasses the optico-geometric in haptic function, moving through ‘diagrammatic agency’ towards the radiance of the inter-world itself.
The application of those ‘uncanny powers’ passes-through impotence, so as to find oneself capable of action in relation to psycho-cosmic embodiment. Through the gaze, the pharmakological medium of the interface in which opposites are opposed is opened—an opening that is imminent to the luminosities of the psycho-cosmic body (that embodiment of prior mediation; the potential space of reciprocal engendering). Thus one might impossibly consist as the being-towards that ‘strange relation’ signified by the performative utterance of a poiesis of passage, passible to the other through twilight language.