Postulated: The intensity of time-travel fiction — and specifically backward time-travel fiction — is a critical index of modernity. As the time of modernity, initially grasped as a departure from traditional cyclicity, is prolonged into deepening nonlinear vortex, it provokes time-travel narrative as a figure in which to seek resolution. The apocalyptic, or communicative action of the end upon its past (through prophecy), is destined to final subsumption within the image of templexity. With the formulation of the Terminator mythos, in the last years of the 20th century, this process of subsumption is essentially complete. In this rigorous sense, the Terminator — as its name suggests — announces the inauguration of the End Times, when the thought of auto-production, emerging in phases from developments in cybernetics, is culturally acknowledged in its comprehensive cosmic-historical implication. The time-travel ‘bootstrap‘ or ‘ontological paradox’ is hazily recognized as the occult motor, or operational singularity, of the modern historical process.
Any positive cybernetic dynamic is open to logical interpretation (and dismissal) as a paradox. The Epimenides or Cretan Paradox, for instance, describes a reality-consistent recurrent cycle of escalating skepticism from the perspective of positive cybernetics, but nothing more than a concurrent self-contradiction from that of formal logic. The ontological paradox invites the same divergent reception. Auto-productive being is either a realistic foundation, or a formal absurdity, with the variance depending on whether self-reference is apprehended as a substantial dynamic or a static formality. From a certain — respectably established — orientation, the encouragement of circuit ontology within advanced modernity can only appear as a solicitation of madness.
Christopher Nolan’s Interstellar (2014) is a movie whose narrative loop is based explicitly upon ontological paradox. (It arrived too late to be referenced in Templexity.) The circuit of auto-production it describes is looped around black-hole cosmology, involving specific gravitational information that is inaccessibly occluded by the event horizon of collapsed stars, yet indispensable to the survival of the civilization eventually capable of retrieving it. The templex pattern outlined in the movie is exquisite. (Kip Thorne is doubtless owed considerable appreciation for that.)
The hypothesis of templexity is that the machine stimulating cultural absorption in the ontological paradox cannot stop. In regards to what has already happened, we haven’t seen anything yet.