I have finally settled for a preliminary abstract for the conference on art history in London that I mentioned a week or so ago (I shall try to combine Meillassoux’s contingency with OOO). There might be some slight changes but here is the abstract:
Apocalyptic and new age fantasies focusing on the erroneous “end-date” of the Maya Long Count saw some absolute purposeful meaning encoded in an ancient calendar. However, as Meillassoux’s take on facticity indicates: there is no absolute reason or ground for reality. The absolute is contingent.
The 2012ers also failed to see that what they were and still are part of: the growing awareness of hyperobjects. Timothy Morton’s hyperobject is an object so massive that we encounter it everywhere and nowhere at the same time. Global warming is Morton’s preferred example. We encounter its local manifestations in rain, puddles, news, political debates, etc. However, we can never point out its specific time-space location. In fact, the hyperobject emits time and space. The appearance of the hyperobject is the past, it is what objects encounter in any situation. The withdrawn essence of the hyperobject is the future, it is what it will generate in new relations. A hyperobject has a birth, life and death although on a scale beyond humans.
The 2012-phenomenon is such a hyperobject. Its parts consist of objects and other hyperobjects such as the Aztec Calendar stone, Tortuguero Monument 6, the precession of the equinoxes, the Milky Way, archaeological text books, the Bible, Capitalism, Internet, etc. The 2012-phenomenon is a symptom of the ecological crisis. Despite that the “end date” has expired it has not ended since its parts will become part of a new hyperobject in the years to come since the symptoms of the ecological crisis remain.