“The aesthetic is at once primordially ancient and super futuristic in appearance, seamlessly combining high-tech machinic elements with an organic feel that deconstructs the binary between nature and technology. The use of nanotechnological biomimicry was a major technical factor in defining this aesthetic. The predominant style was something like a hybrid of the prescient art of Philippe Druillet, Jean Giraud (Moebius), and H.R. Giger. Both Art Nouveau and Surrealism could also be seen as forerunners of it.
In sum, the sinuously serpentine and curvilinear filigreed designs were a radical repudiation of the putatively eternal validity of the Olympian megalithic style. The Olympian aesthetic embraced by Traditionalists, with its geometrically perfect polygonal brutalism, is inhuman whereas our aesthetic is trans- or superhuman. Ironically, for all of their ‘back to nature’ rhetoric, the Traditionalist structures stand out from, and tower over the natural world, whereas our buildings appear almost as if they are growing from out of the environment. Whether beneath the sea or on an asteroid, our nano-molecularly assembled structures look like coral columns or mountainous rocks that have somehow mutated to exhibit machinic and organic aspects that render them abodes of industrious habitation.”
– Jason Reza Jorjani, ARTEMIS UNVEILED
Art: JRJ with AI
In sum, the sinuously serpentine and curvilinear filigreed designs were a radical repudiation of the putatively eternal validity of the Olympian megalithic style. The Olympian aesthetic embraced by Traditionalists, with its geometrically perfect polygonal brutalism, is inhuman whereas our aesthetic is trans- or superhuman. Ironically, for all of their ‘back to nature’ rhetoric, the Traditionalist structures stand out from, and tower over the natural world, whereas our buildings appear almost as if they are growing from out of the environment. Whether beneath the sea or on an asteroid, our nano-molecularly assembled structures look like coral columns or mountainous rocks that have somehow mutated to exhibit machinic and organic aspects that render them abodes of industrious habitation.”
– Jason Reza Jorjani, ARTEMIS UNVEILED
Art: JRJ with AI
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“The one that made the deepest impression on me, and which I went back to view more than once, was World on a Wire by Rainer Werner Fassbinder. It had originally been made for German television, but one of these art house theaters had gotten hold of a copy that they were screening for small audiences. After the screening, I secured a bootleg VHS tape of the movie and re-watched it repeatedly at home. The film was based on a sci-fi novel called Simulacron-3 by Daniel F. Galouye. I picked up a mass market paperback of the book at the Strand, and I quickly read it cover to cover—twice. The book was also available in an edition with the al- ternate noscript Counterfeit World. I eventually bought a copy of that one as well.
This film, together with the novel that it was based on, did not help my state of mind. I became increasingly convinced that we were, indeed, living in some kind of artificial, programmed, and re- programmable construct. I don’t say, “rather than in reality,” because what was worst about my reflections on the movie and book was the deeply unsettling, even vertiginous, suspicion that it is simulations all the way down and archons all the way up. World on a Wire and Simulacron-3 intensified my interest in the paranormal, even the most lurid forms of it such as the efficacy of Astrology, not because they were evidence of a “spiritual world” but very much to the contrary, because they were clues to the fact that we are living in some kind of computer-programmed construct run by an Artificial Intelligence…”
– Jason Reza Jorjani, PSYCHOTRON
https://www.youtube.com/watch?v=URq7m3-SOtA
This film, together with the novel that it was based on, did not help my state of mind. I became increasingly convinced that we were, indeed, living in some kind of artificial, programmed, and re- programmable construct. I don’t say, “rather than in reality,” because what was worst about my reflections on the movie and book was the deeply unsettling, even vertiginous, suspicion that it is simulations all the way down and archons all the way up. World on a Wire and Simulacron-3 intensified my interest in the paranormal, even the most lurid forms of it such as the efficacy of Astrology, not because they were evidence of a “spiritual world” but very much to the contrary, because they were clues to the fact that we are living in some kind of computer-programmed construct run by an Artificial Intelligence…”
– Jason Reza Jorjani, PSYCHOTRON
https://www.youtube.com/watch?v=URq7m3-SOtA
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- Excerpt from an interview with Voltairine de Cleyre, Prophetess of the Fire. March 1894 -
Interviewer: "What do you think is the object of life?"
Voltairine: "Progress. The development of the human race. I want people to know more. If in their search for knowledge they meet with unhappiness, it is a good thing. If they meet with unhappiness, it is their fate. They cannot escape it. It is true I am a pessimist, but I do not think we were meant to be happy. We are merely the cogs in the wheel of a mighty evolution, which moves around slowly and steadily until its work is over."
Interviewer: "And what will happen then?”
Voltairine: “Ah, that is the great goal of the race. What it will be, no one can tell. As the human race progresses and becomes perfect I think it susceptibility to unhappiness will become keener. Conditions that do not exist today, or, if they did exist, we would look upon the indifference, will add to the unhappiness of the race in the future. As I said before, the progress that I believe in, is not toward a happier life. It it is towards a perfect, an ideal life, in which men and women will be as gods, with a gods power to enjoy and to suffer.
It may be that this progress will merely be a race for unhappiness and the sufferings of one generation may increase the sufferings of the next. But they will make it easier for those that come after them to strive for that goal to which, even without their cooperation, the great, unconscious forces impelling human kind. Here, I will show you a little poem I once wrote in which I expressed my idea better than I can do it now.”
The poem which she produced read as follows:
A Soul, half through the Gate, said unto Life:
“What dos thou offer me?” And Life replied:
“Sorrow, unceasing struggle, disappointment;
after these
Darkness and silence.” The Soul said unto Death:
“What dos thou offer me?” And Death replied:
“In the beginning what Life gives at last.”
Turning to Life: “And if I live and struggle?”
“Others shall live and struggle after thee
Counting it easier where thou hast passed.”
“And by their struggles?” “Easier place shall be
For others, still to rise to keener pain
Of conquering Agony!” “and what have I
To do with all these others? Who are they?”
“Yourself!” “And all who went before?” “Yourself.”
“The darkness and the silence, too, have end?”
“They end in light and sound; peace ends in pain,
Death ends in Me, and thou must glide from
Self
To Self, as light to shade and shade to light again.
Choose!” The Soul, sighing, answered: “I will live.”
____
Artwork: Filippo Tommaso Marinetti - A Tumultuous Assembly. Numerical Sensibility, 1919 / Raoul Hausmann - ABCD, 1920s.
Interviewer: "What do you think is the object of life?"
Voltairine: "Progress. The development of the human race. I want people to know more. If in their search for knowledge they meet with unhappiness, it is a good thing. If they meet with unhappiness, it is their fate. They cannot escape it. It is true I am a pessimist, but I do not think we were meant to be happy. We are merely the cogs in the wheel of a mighty evolution, which moves around slowly and steadily until its work is over."
Interviewer: "And what will happen then?”
Voltairine: “Ah, that is the great goal of the race. What it will be, no one can tell. As the human race progresses and becomes perfect I think it susceptibility to unhappiness will become keener. Conditions that do not exist today, or, if they did exist, we would look upon the indifference, will add to the unhappiness of the race in the future. As I said before, the progress that I believe in, is not toward a happier life. It it is towards a perfect, an ideal life, in which men and women will be as gods, with a gods power to enjoy and to suffer.
It may be that this progress will merely be a race for unhappiness and the sufferings of one generation may increase the sufferings of the next. But they will make it easier for those that come after them to strive for that goal to which, even without their cooperation, the great, unconscious forces impelling human kind. Here, I will show you a little poem I once wrote in which I expressed my idea better than I can do it now.”
The poem which she produced read as follows:
A Soul, half through the Gate, said unto Life:
“What dos thou offer me?” And Life replied:
“Sorrow, unceasing struggle, disappointment;
after these
Darkness and silence.” The Soul said unto Death:
“What dos thou offer me?” And Death replied:
“In the beginning what Life gives at last.”
Turning to Life: “And if I live and struggle?”
“Others shall live and struggle after thee
Counting it easier where thou hast passed.”
“And by their struggles?” “Easier place shall be
For others, still to rise to keener pain
Of conquering Agony!” “and what have I
To do with all these others? Who are they?”
“Yourself!” “And all who went before?” “Yourself.”
“The darkness and the silence, too, have end?”
“They end in light and sound; peace ends in pain,
Death ends in Me, and thou must glide from
Self
To Self, as light to shade and shade to light again.
Choose!” The Soul, sighing, answered: “I will live.”
____
Artwork: Filippo Tommaso Marinetti - A Tumultuous Assembly. Numerical Sensibility, 1919 / Raoul Hausmann - ABCD, 1920s.
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As those Romantic and Gothic poets like Goethe and Shelley [...] knew full well, Lucifer is none other than Prometheus himself.
There can be no greater test of one’s willingness to wage revolutionary war against tyranny than to stand up against a putatively all-powerful and all-knowing tyrant, who claims to be able to punish rebellion by condemning the apostate to the unending torment of eternal damnation.
Only a tragic hero or heroine, who stands for full freedom from every form of slavery in the face of certain defeat, and a fate far worse than death, is truly a being who is bound for freedom. Anyone else is ultimately a slave by nature.
- Jason Reza Jorjani, PROMETHEAN PIRATE
Artwork: Cover of Sound Out Light's I'm Leaving This World, 2014 / Cover of Christopher Flores's Scapes and Devotions, 2018
There can be no greater test of one’s willingness to wage revolutionary war against tyranny than to stand up against a putatively all-powerful and all-knowing tyrant, who claims to be able to punish rebellion by condemning the apostate to the unending torment of eternal damnation.
Only a tragic hero or heroine, who stands for full freedom from every form of slavery in the face of certain defeat, and a fate far worse than death, is truly a being who is bound for freedom. Anyone else is ultimately a slave by nature.
- Jason Reza Jorjani, PROMETHEAN PIRATE
Artwork: Cover of Sound Out Light's I'm Leaving This World, 2014 / Cover of Christopher Flores's Scapes and Devotions, 2018
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https://www.youtube.com/watch?v=sFLlNe5t4hs
—
"Prometheus is a figure that represents the promise of technological science. It's more important than ever right now to positively re-appropriate this myth and understand the power that it already has over us unconsciously. We need to take that unconscious power, that demonic power of the Prometheus archetype, and transform it into something that's more self-conscious."
—
"Prometheus is a figure that represents the promise of technological science. It's more important than ever right now to positively re-appropriate this myth and understand the power that it already has over us unconsciously. We need to take that unconscious power, that demonic power of the Prometheus archetype, and transform it into something that's more self-conscious."
YouTube
Prometheus the Adversary | Jason Reza Jorjani
Chapters:
0- 00:00 Intro
1- 02:00 The Myth of Prometheus
2- 05:25 1st Greek Tragedy
3- 09:00 Parallels
4- 14:30 Hesiod's Persian World
5- 18:00 Fallen Angel
6- 21:20 Flood Myth
7- 25:20 Atlas, Epimetheus, Menoetius
8- 33:10 Athena Sophia
9- 38:00 Human Nature…
0- 00:00 Intro
1- 02:00 The Myth of Prometheus
2- 05:25 1st Greek Tragedy
3- 09:00 Parallels
4- 14:30 Hesiod's Persian World
5- 18:00 Fallen Angel
6- 21:20 Flood Myth
7- 25:20 Atlas, Epimetheus, Menoetius
8- 33:10 Athena Sophia
9- 38:00 Human Nature…
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https://www.youtube.com/watch?v=chO_-29jijs&pp
Artwork: Mario Martinez - Topographic Dawn #6, 2019 / Tamas Lossonczy - Deep Well, 1947 / Terry Winters - Rhizome, 1998
Artwork: Mario Martinez - Topographic Dawn #6, 2019 / Tamas Lossonczy - Deep Well, 1947 / Terry Winters - Rhizome, 1998
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In Thus Spoke Zarathustra, Nietzsche recounts the myth of Epimetheus and Pandora. Nietzsche uses the mythic figure of Epimetheus to make a commentary on the limits of Promethean rationality and calculative forethought.
As in The Birth of Tragedy, wherein he had positively contrasted ecstatically irrational and inspired “Dionysian” madness with “Apollonian” rationality, in Thus Spoke Zarathustra the “Epimethean” willingness to be irrationally seduced by the erotic power of Pandora is contrasted with the rational forethought of Prometheus.
Nietzsche embraces the Epimethean despite, or perhaps because of, all the dangerously destructive calamities that may be attendant to this seduction. Nietzsche sees this as an inevitable aspect of human existence.
In fact, it is a seduction to evolve beyond the merely human, an evolutionary potential that we have precisely because (according to the Greek myth) Epimetheus forgot to endow us with any innate nature or species being of the type possessed by various animals.
- Jason Reza Jorjani, PSYCHOTRON
Artwork: Daniel Sabater y Salabert - A Spanish Woman in Hell, 1928 / La Force, Tarot de Marseille / Vali Myers, 1974
As in The Birth of Tragedy, wherein he had positively contrasted ecstatically irrational and inspired “Dionysian” madness with “Apollonian” rationality, in Thus Spoke Zarathustra the “Epimethean” willingness to be irrationally seduced by the erotic power of Pandora is contrasted with the rational forethought of Prometheus.
Nietzsche embraces the Epimethean despite, or perhaps because of, all the dangerously destructive calamities that may be attendant to this seduction. Nietzsche sees this as an inevitable aspect of human existence.
In fact, it is a seduction to evolve beyond the merely human, an evolutionary potential that we have precisely because (according to the Greek myth) Epimetheus forgot to endow us with any innate nature or species being of the type possessed by various animals.
- Jason Reza Jorjani, PSYCHOTRON
Artwork: Daniel Sabater y Salabert - A Spanish Woman in Hell, 1928 / La Force, Tarot de Marseille / Vali Myers, 1974
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Films that have influenced me, #014.
Tony Scott, THE HUNGER (1983).
Tony Scott, THE HUNGER (1983).
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