Cyberspace is the narrative of the end; it ends narratives of postmodern-post-industrial societies ennui and exhaustion
- Wendy Hui Hyong Chun, 2006.
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Member 2757 6 entries 7278 views
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Benjamin Ross Hayden CA Immortal since Sep 27, 2010 Uplinks: 0, Generation 3 |


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From BenRayfield Global Decentralization... |
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From Sonicport Mirror Fridge Odyssey 2012 |
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From Sonicport Mirror Biorhytm/ Science Galley |
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From Benjamin Ross Hayden Trobia | Film |
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Cyberspace is the narrative of the end; it ends narratives of postmodern-post-industrial societies ennui and exhaustion
"Each of us can take pictures, capture a moment of this world that is wrestling with death. The image thus recorded exists no longer… we take pictures. The first by our aggression, then feeling the pleasure of sharing, we ripped the skin off the body of the world. The skin becomes a trophy, and/or fame grows with the disappearance of the world… taking pictures expropriate the intimacy of… pain while, at the same time, bearing witness to it. This has to do with the status of the image in our process of getting a grasp on this world. The rawest and most beautiful realities are reduced to an emotional superficiality in our perception. Acquisition, evaluation and understanding of the world constitute a process of capturing it. Capturing means making something one's own; and once it is in one's possession that thing can no longer be taken by another… the picture neutralizes the content. Media brings everything onto one and the same level..."
Historically, the shape, style, and decoration of every new technology has been introduced in a manner owing much to the aesthetics and thinking customary of the time. In the technological era, society became organized according to the logic of machines, conveyor belt principle, "rationally" based discrimination theories, and war technology, with an increase in fear, frustration, refusal, and protest. As a response, errors, inconsistencies of vision, of method, and of behaviour become artistic methods. Beneath our eyes there is being solved the most complex problem of culture: utilitarian form becomes pure creative form.
If all the code does is give us a mirror of ourselves, translating our material world into configurable bits and bytes. If what we want from code is not only power, but also discourse and connection, then perhaps we should begin to ask ourselves about the codes we are in the habit of overlooking in our preoccupation with our own, whether digital or genomic. There are plenty of codes out there calling for our attention, and many are in plain sight or hearing. If access to digital code can open up the heart of a computer, would a deeper understanding of these other codes enable us to open our own codes—and our own hearts?
