perhaps this was never temporary, after all.
Since its very nascency, society necessitates in a flexible sphere which survives on constant and persistent change. The overall nature of humanity is enrooted within a traditional quest for continual progress, while of course always remaining within a realm that corresponds to its instinctual, while-then primitive habitat. This accelerated evolution, an overambitious tyranny or not, increasingly gains in momentum the further we seem to familiarise ourselves within the ripening face of the whatever 2000s—a moment in time where an exaggerated epidemic of generating originality seems to have surpassed its intangible peripheries, consequently resulting in permanent homelessness.
The consensus of science fiction’s idealisation for avant-garde technologies, which began to boom ever since 20th century’s revolutionaries like Lang leashed their majestic dogs upon us, seems to not have been such far-fetched herofication of the future, after all. Presently we seem to rest in a perverted yet romanticised über-renaissance, a paradoxical intent which predominantly fixates on technological advancement while simultaneously trying to desperately return home to nostalgic simplicity—it is obvious one of them has to burden the ultimate verdict of failure one day. Fundamentally, we can’t circumvent this inexhaustible avenue of always aiming for the next better, the improved—the (inescapable) new.
This abstraction of ‘the new,’ a disoriented phenomenon catalyzed by youthful enthusiasm in an attempt to escape the familiar, may come in a wide array of complex or straightforward anatomies, each defined by its individual and conscious purpose in our modern world. One of such ideologies resting behind the new might be a celebratory revisitation—a mere portrayal of the rediscovered old. Relying on a hypothetical idealistic progression of the previous, the preconception of novelty might be at stake here. Instead conceiving it as completely new, we should primarily understand it as an extension of something that brings along some sort of newity. This, should be practised, nevertheless, without disavowing the new from its deserved authenticity—an authenticity brought on by the already known, but still valid.
After all, whatever definition we might want to attach, the new is still a fresh concept that finds itself at its introductory stage. In order to gain further insight into this complexity, perhaps we must first confront ourselves with one of the new’s most underlying aims: it’s imperative objectives.
To get closer to this subjective truth, while abandoning all aspects of morality, it seems almost impossible to avoid humanity’s most starved-for triumph: immortality in its most blasphemous and impenetrable flesh. Narcissistically speaking, it is immortality’s overall dyspeptic unattainability and enigmatic beauty that has provoked us most since the preconception of morality. In this particular case, however, it’s important to not regard immortality with a sense of infinity but rather confess it as a continuousness of the whatever. The new, being a fabrication by human hands, unavoidably must follow up with its creator’s ideals—ultimately chasing the same inexhaustible chimera of being forever and unforgotten.
But, just as humanity has been afflicted with an unforeseeable fate for mortality, the new must perish too over and over again. Hence, the new’s constitution can solely manifest itself, if at all, with a temporary immortality at the very most—a state in which it reaches its maximum potential the moment it is born to only shortly after depart and be replaced by its successor.
If the new wishes ever to obtain its desirable aim of existing as some sort of continuity, inherently it must be produced over and over again until it has finally reached its point of totality. Here, totality should not be limited to quintessential flawlessness, but, again, be perceived as having reached a state of completion—an exaggerated utopia that has outlived its possibilities and therefore is unable to extend itself any further. Having attained such condition, no longer being of temporary immortality, the new has consequently evolved into another form. It has ultimately transformed itself into, what could be claimed, the new new. A form that no longer expresses the need to explore itself further within its given margins. It is here where this disordered odyssey in search of originality might have finally come to an end and is able to return home at last.