Brenden's Labyrinth
The Labyrinth
Deconstructing Arrival and Time: The Hidden Meaning
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Deconstructing Arrival and Time: The Hidden Meaning

This is the audio version of my previous essay and I’ve also linked the Youtube version as well.

“But now I'm not so sure I believe in beginnings and endings. There are days that define your story beyond your life. Like the day they arrived.”

“And "purpose" requires an understanding of intent. We need to find out, do they make conscious choices or is their motivation so instinctive that they don't understand a "why" question at all. And-And biggest of all, we need to have enough vocabulary with them that we understand their answer.” — Arrival

One does not see an alternative cosmos, a cosmic folklore or exoticism, or a galactic prowess there - one is from the start in a total simulation, without origin, immanent, without a past, without a future, a diffusion of all coordinates (mental, temporal, spatial, signaletic) - it is not about a parallel universe, a double universe, or even a possible universe - neither possible, impossible, neither real nor unreal: hyperreal - it is a universe of simulation, which is something else altogether.

— Baudrillard, Jean. Simulacra and Simulation

"One has only to throw away the deterministic model of 'objective necessities' and obligatory 'stages' of development? One has thus to sustain a minimum of anti-determinism: nothing is ever written off, in an 'objective situation' which precludes any act, which condemns us fully to biopolitical vegetation. There is always a space to be created for an act—precisely because, to paraphrase Rosa Luxemburg’s critique of reformism, it is not enough to wait patiently for the 'right moment' of the revolution." — Slavoj Zizek

"The past does not cause one present to pass without calling forth another, but itself neither passes nor comes forth. For this reason, the past, far from being a dimension of time, is the synthesis of all time of which the present and the future are only dimensions." — Gilles Deleuze

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