Talk:Exe0.2 Linda Hilfling & Olle Essvik

Hi Linda and Olle!

First i laugh all the way through, this is very fun and satanic.

Second, a close reading made me think about a few things. Not so fun. First the question of the Y2K and in general this apocaliptic dreams we rely on, from which desires come from and how they are use as narratives as progress, or achievement as society. I remember in México there was this "2YK Commission" (i found this english ) and nothing really happened, but still this leap was used as nationalistic narrative of progress and proof of how the country had joined the digital age. Hillarious. So this made me thing too about this excelent paper on the poetics of infrastructure

• "But infrastructures also exist as forms separate from their purely technical functioning, and they need to be analyzed as concrete semiotic and aesthetic vehicles oriented to addressees. They emerge out of and store within them forms of desire and fantasy and can take on fetish-like aspects that sometimes can be wholly autonomous from their technical function. Focusing on the issue of form, or the poetics of infrastructure, allows us to understand how the political can be constituted through different means. It points to the sense of desire and possibility, what Benjamin (1999) would term the collective fantasy of society (De Boeck 2011, Humphrey 2005, Khan 2006, Larkin 2008, Mra ́zek 2002, Sneath et al. 2009). "

I also thought in one of my favorite books Dark Tongues. and what this weird words like "Cherry Coke" say about our present moment and the apocalyptic fantasies that produce. Searching a bit for more specific history of apocalyptic impulses, i found this very appaling post but that i consider relevant and historicizes perfectly on the spectacle of "neverending times":

• "Humans too long imprisoned by society in its dehumanized extensions, knowing themselves downgraded to things, turn for relief to the dream of apocalypse that solves all the problems, takes out the whole world, and with it all the flies in the soup."

So at the end was not so funny and actually i found the whole algorithmic re-enacment violent, and timely. Also the images of the fly in the soup.. uhm yes very satanic.