He assumes fantasy to be the logical barometer of the contemporary political climate, since, as his later essay on Jean Cocteau’s Orphée would observe, life does not imitate art, but rather comes to fulfil its prophecies.

Chris Marker: Memories of the Future, Catherine Lupton

D. H. Lawrence, for example, insisted that ‘we have to drop our manner of on-and-on-and-on, from a start to a finish, and allow the mind to move in cycles, or to flit here and there over a cluster of images. Our idea of time as a continuity in an eternal, straight line has crippled our consciousness cruelly’

Modernism (The New Critical Idiom), Peter Childs

art has never been on the side of the purists.

Literature & Existentialism, Jean-Paul Sartre

The end of history, for Kojève, is to end history. As Kojève hauntingly notes, history is nothing more than the persistence of error, understood by Kojève as the adherence to ways of justifying self-preservation.

The Black Circle: A Life of Alexandre Kojève, Jeff Love

On French speculative writing in the 1920s:

In a 2009 book called Future Tense, the Canadian historian Roxanne Panchasi describes a curious feeling pervading writing on the future in France from around this time. She calls it “premourning.”

…there persisted, she claims, “a nostalgic longing for French values and cultural phenomena that had not yet disappeared.”

From The Music of the Future by Robert Barry (UK) (US)

From that same book, more evidence for my thesis that James Bridle is a human superposition:

I had come to see a performance by the Tennessee-born artist Holly Herndon. She was billed as part of a digital arts festival called Némo. I had been intrigued by Herndon ever since her name came up in a Skype conversation I had with the artist and writer James Bridle earlier that same year.