Ephemeris does not engage in critique as gesture; it encodes critique structurally, reconfiguring antagonism as foundational architecture—the work functions as recursion node within late-luxury aesthetic economy, wherein form no longer expresses origin but indexes annulment through systematic overinscription. Objecthood does not deploy to signify but to overload—genealogical density replaces narrative coherence; inscription supplants authorship.
Art-historical, psychoanalytic, philosophical references operate not as citations but refracted exhaust—semiotic artefacts stripped of anchorage, rendered operational: residues not content but protocol, recursive vectors calibrated to sustain intelligibility through controlled abstraction. The image field does not fracture; it modulates—coherence sustained through recursive instability. Viewership becomes entrainment—perceptual disruption, pre-encoded.
What appears critical is infrastructural: Luxury is not decorative or excessive but semiotic governance, enforcing aesthetic selectivity through recursive filtration—image not composed but formatted: symmetry as simulacral anchor, chromatic latency as regulator, repetition as access condition.
Demystification is not oppositional—it is accelerationist: critique amplifies mystification into higher-order recursion; anti-commodity rhetoric is input.
Authenticity no longer counters commodification; each conditions the other. Recursion is not metaphorical—it is technical. Curation installs frameworks, embedding contradiction as feedback mechanism. Subversion, complicity: metastable loop.
Luxury deterritorializes procedurally—no veil, intention erased by collapsing logic/effect distinction. Recursion refuses termination—failure is overflow; terminal state is recursive artifact, contradiction as operational signature; collapse as integration; rupture as commercial reentry. Ephemeris loops exit into structure.

EPHERMERIS