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  • WEEK 01: THE FUTURE OF NOW, YESTERDAY
    • ISSUE 01: DO MACHINES HAVE ORGASMS?
    • ISSUE 02: THE MELBOURNE UGLINESS
    • ISSUE 03: WELCOME CLASS...
  • WEEK 02: STRAWMAN
    • ISSUE 04: A THESIS ON THE OPERATION OF ROTATION IN HIMSELF'S LIBRARY WITHIN THE POST-NUMERICAL CULTURE OF LATE-CAPITALIST SOCIETY
    • ISSUE 05: HOW TO TALK DIRTY WITHOUT FEELING RIDICULOUS
    • ISSUE 06: PUBLIC ANNOUNCEMENT
  • WEEK 03: SORRY, NOT SORRY
    • ISSUE 07: KNOW [YOUR] PLACE
    • ISSUE 08: AFTER JUNKSPACE
    • ISSUE 09: WHERE AM 'I'?
    • ISSUE 10: THE BENEFACTOR
  • WEEK 04: THE BODY POLITIC PART i
    • ISSUE 11: LET'S GET CRITICAL
    • ISSUE 12: MAJOR PROJECT AS PRACTICE W/ ANTHONY IP
    • ISSUE 13: BODY POLITICS
  • WEEK 05: THE BODY POLITIC PART ii
    • ISSUE 14: THE TOWER PROJECT OR "THIS ARCHITECTURE WHICH IS NOT ONE"
    • ISSUE 15: MOVE TO BEIJING...NOW!
    • ISSUE 16: NO MORE MASTERS
  • WEEK 06: CIVIL/UNCIVIL
    • ISSUE 17: SMILE TO YOUR BAD LUCK
    • ISSUE 18: #MAKE IT YOURS
    • ISSUE 19: HI ROBERT
    • ISSUE 20: ON SPRINGVALE
    • ISSUE 21: MELTING POT
  • WEEK 07: HAUNTED
    • ISSUE 22: STONE TAPE
    • ISSUE 23: WELCOME TO RINGWOOD
    • ISSUE 24: RECIPE FOR A MALL OF REMEMBRANCE
  • WEEK 08: THE THIN LINE
    • ISSUE 25: FWD FWD FWD
    • ISSUE 26: MAJOR PROJECT AS PRACTICE W/ PAUL VAN HERK
    • ISSUE 27: ONE+
    • ISSUE 28: A FOR ARCHITECTURE
    • ISSUE 29: ETUDE TO MEDIOCRACY
  • WEEK 09: C IS FOR C***CAT
    • ISSUE 30: GO SELF YOUR SELF
    • ISSUE 31: AUTHENTICITY NOW; BUILD + EAT
    • ISSUE 32-34: CONGRATULATIONS
  • WEEK 10: MISSING FROM THE CANON
    • ISSUE 35: ON READING & WRITING: MORE QUESTIONS THAN ANSWERS
    • ISSUE 36: MERCHANT BUILDERS/CLAIRE SCORPO
    • ISSUE 37: BEVERLEY HILLS - HOWARD RATCLIFFE LAWSON "THE ARCHITECT WHO BUILDS"
  • WEEK 11: DETAIL - NAKED AND NAUGHTY
    • ISSUE 38: MAJOR PROJECT AS PRACTICE W/ DHARMAN GERSCH
    • ISSUE 39-40: REVENGE ON RED TAPE
    • ISSUE 41: RED TAPE LETTER
  • WEEK 12: DIY LEMONS
    • ISSUE 42-44: #BRUTALIST FILTER
    • ISSUE 45: SHOP THE CITY
    • ISSUE 46: WE CAN BE MORE THAN FRIENDS
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ISSUE 04_A THESIS ON THE OPERATION OF ROTATION IN HIMSELF'S LIBRARY WITHIN THE POST-NUMERICAL CULTURE OF LATE-CAPITALIST SOCIETY
        _BY ANON 003
_SUBJECTS_ #
​

​​DEAR ARCHITECTURE SCHOOL.....
_A Thesis on the Operation of Rotation in Himself's Library within the Post-Numerical Culture of Late-Capitalist Society
By Ovid Sexton
AO, PHD, MA, BA
Himself's library interrogates the dynamic of late-capitalist culture and signifies the truly necessary move to Operational Rotation in which the spectacle of post-numerical modernity is explicated into the frontal lobe of Swanston street. It is truly Himself's magnum opus and provides a semenal moment in the discourse of Architectural penetration – a sine qua non in the canon of post-linguistic architecture! Himself's library is positioned on what is titled as Level 5 when in fact it is actually on Level 4, challenging the very notion of multi-story building within the new age of post-numeracy. The library come church, come filmography, come microcosm, come quickly, is placed in the entity that is referred to as Building 8. Its number 8 when operated upon by rotation is actually a symbol for infinity, shattering the Cartesian ability to place infinity within a count-as-one multiple. But moreover, the infinity when rotated once more is again a number 8 that when summed with the number 5, which is actually a number 4 disguised as number 5, is 13. The number 13 is in fact, when rotated ninety degrees, a cock and balls. The infinity come number 8, then, once rotated again for the third time, is in fact an arse. Upon rotation, and within post-coital-numerical order, Himself's library is a phallic vociferation of the male anatomy. The genius of Himself's provocation can be attributed to when I first met Himself at the launch of my first book back in 1991, titled The Implications of Post-Fourier Transformations for a Holographically Mimetic Cinema, of which the third edition is available through Incredibly Verbose and Cryptically Titled Publications, and I believe it was perhaps I who first introduced Himself to the notion of the post-coital-numerical facial emission that clearly inaugurated the library's conception. Yet I admit it was Himself's braggadocio that transformed my insurmountable theory into a truly metallic tasting Architectural reality and has solidified his flaky yet permanently stained position within the civic spine of Swanston street. Himself's library is truly a Masterwork and speaks candidly of the present times.
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