I’d gotten good enough at listening to the dead that I could call them in. Not like they’d come every time I called, but time to time they’d come. And that’s how I’d heard stories from men and women who lived in other times and places. Ancestors. Not long ago. Some of them in California, during the twenties and thirties.

let us investigate the notion of art after the end of the world, and the two figures this proposition conjures up: the figure of the post-, something after the event; and the figure of the main event itself, the end of the world, or if you will, the apocalypse. If there is to be something like art after the apocalypse, this would mean that something is still present, in whatever form, or that something is still being presented and produced, and possibly made public, whether as a form of signification or de-signification. That something (i.e., art) has a meaning or being after the end of the world, whether symbolically or in actuality. Let us first investigate the latter: that the world has in fact ended, but there is still art, still cultural production. By whom is it produced if the world has ended? What could it possibly mean, moreover, to produce art and culture after the end of the world, and thus, presumably, after the end of both the natural and the cultural world, of both bios and zoë, as it were? Would there still be life, or even afterlife, at all? What would it mean to be alive after the end, either as survival or beyond death? Would such a subject still be human, or perhaps rather inhuman or even post-human? In any case, the suggestion of an art after the end of the world implies that there is someone around after the end, whether as producer or receiver: that there is transmission of some sort or another, intentional or unintentional.

At Sunshine 60, a dark shadow lurks in the foundations of the bright, lively shopping mall. The reverberating voices of happy children and families on vacation dissipate into the vacuum of history, created by the ghost of an ill-fated epoch. Although it was built to reflect a successful economy (utilizing the best technology of the time to instill great pride), the mall’s structure ironically mirrors the violent totalitarianism of its past. Previous machinations of mass control remain corporeally present in the form of this building, albeit camouflaged in other modes of manipulation, while they continue to shift and coerce under new terms of power. Consumerism’s salute to imperialism!