Luminous Scriptures
We explore. A means - a method - that in its digital imposture gestates movement, fluctuation, speed , infinite repetition, n-dimensional depth, visual and sound responses to direct orders imparted by a reader who is telecommunicated through heaps of cuasineuronal nets. And overall, light. Lux Perpetua, lux aeterna, cathodic light, matricial, crystaliquid as an opposition to the designs of an obscurantista era that becomes even more at the end of the second Christian millennium. Lux that lights the path like illuminating writing, fulminant of knowledge and transverbal statements. Beyond the word, but closer to us, illuminating over the reasons and unreasonableness. But... is light opposed to darkness or simply that which manifests it?
T
he Luminous Scriptures do not constitute a novel race: they have been registered from the beginning of humanity in objectual shades, shooting stars, trajectories of fireflies and other luminous beings. More contemporarily in sundials, mossy mirrors, and translucent curtains.L
ux Perpetua was influenced by the passage of solar rays through the cracks of wooden blinds. Blinds that protect, hide, darken. But at the same time they perpetrate luminous scriptures over dark walls, hidden closets, naked bodies, abysses of daily life. They inscribe volatile, diffuse, fluctuating hieroglyphics, chained to an atomic reaction initiated millions of kilometers away. They imagine ideograms so ancestral as the light that illuminates us, as sacred as the principle of life. And us, minuscule beings of the praxis and the syntax, attempt to get immaculated by our almost infantile scrabbles in front of so much perpetuity.T he trip proposed by Lux Perpetua via its infinite combinations is, in turn, endless. It proposes a relationship with the borgian labyrinths and Xul Solar's Panajedrez. And with a few beings, almost unfathomable, who manufactured their own ineffable alien languages: Xul Solar, who invented an objectual cartomantic alphabet; Mirta Dermisache, who fabricated supralinguistic ideograms; León Ferrari, who imagined graphs. All of them strokes, marks that enforcen significance by means of their extreme intelligibility, their absolute Cartesian irrationality.