ISSUE 04: A THESIS ON THE OPERATION OF ROTATION IN HIMSELF'S LIBRARY WITHIN THE POST-NUMERICAL CULTURE OF LATE-CAPITALIST SOCIETY

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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
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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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