Our images, our Self- or Other-portraits and all of our representational fantasies are always subtle dissimulations of a projected, doubly-inflected Self that we only ever feel that we need to cultivate – (in ourselves as much as in others), to construct, because it is precisely what is expected of us, what everyone else “does” (or is) and what the shared songbook or experience of time and place entrains us to believe is the natural state for this cognitive grammar and perspectival vanishing (!) point of “I”. This is the inversion through which a cultural presence procedurally, adaptively constructs itself, in which it stores itself in (and as a) distributed resilience in shared memory, abstractions and the material facts or artefacts of our lived experience – against the vicissitudes of time and dissolution – by way of it’s own logical complement; already always an emptiness or vacuum we seek narratives and taxonomies of significance through which to persist in self-validating our (dis)continuity beyond our own, fragile and utterly empty, psychic boundaries.

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