Puff of white vape, like a winter locomotive in an old movie. „Sorry. I know it’s weird. That’s part of why I keep thinking it’s not real. What’s the other part?“
„You’re fucking impossible, as far as I know. Too advanced. Too slick. Or maybe the opposite of slick? Too organic?“
„Organic’s for tea“, Eunice said. „Tulpagenics. Google tulpa, I get Tibetan occult thoughtforms. Or I get people on the Internet who’ve invented their own imaginary friends.“
„I know. I did too.“
„I don’t feel Tibetan,“ Eunice said. „Or invented.“
- Bill Gibson – Conversation in Dolores Park, late November, evening. Veröffentlicht als fotografiertes Manuskript, April 2016.
Radiating presence: I enjoy being aware of a thing of intellectual or aesthetic significance existing in close proximity. Not perusing it, perceiving it or acknowledging it in any way. Walking past without a glance, but walking past knowingly. Being sure of its presence, its continued active existence, shared between the perceptive few. Soothing and reassuring and radiating within its socio-spatial context and invisible in plain sight.
The way he has presently constructed it, his life is basically a scaffolding of steel will upholstered in sable fur […] both sober and decadent.
Ich bin ein ausgesprochen rationaler Mensch, aber ich habe viel übrig für interessante Arten von Wahnsinn. Was mir unterhaltsam erschien, habe ich mir angeeignet.
In einem Explosionsexzess hatte Albert Oehlen sich der Wahrheit ausgeliefert, dass der Gegenwartsmoment keinen Trost, keine Träume, kein mittleres gemütliches Schuriburi und auch nicht mehr, wie noch die neuen Bilder in Wien vor fünf Jahren etwa, Wohnung, Möbel, Innenräume schön schräg und wohlig anzubieten hatte, sondern nur noch das öffentliche Geschrei, den maximal grellen Terror der Waren, des Geldes, das war eine Kapitalismuskritik ohne Hoffnung, die Bilder waren Wahrheit pur, der Horror usw.
— R.G., bezugnehmend auf Albert Oehlens Bild b/w.
We haved arrived at the vernacular. The digital is transitioning into its period of unconscious usage. It has been taken from the hands of the makers and designers and set free to the space of unconsidered creation, consumption, enjoyment, use, abuse and trashing. The digital will be transformed into the dark gooey layer sticking to the tarmac of metropolises. Its transmitters are already accumulating the layers of spent semiotics that signify communicative environments with high density.