Johannes Grenzfurthner quotes - page 2
The human is a narrative being. We construct emotional machines, so-called "stories”, to communicate, to share the world in which we live and make it collectively experienceable. And we are pretty good at doing that. Since the primordial soup at some point mendelized into primate brains, we have either been fleeing from big cats or telling others about our escapes from the clutches of big cats. Sitting around the campfire, interpreting and breaking down the world, charging it with aura. Initially this was all very mythopoeic, and slowly it became more differentiated. But even in the post-Enlightenment age, world interpretations are not necessarily particularly rational. Good stories sell well, and the best stories are the ones that hit you in the gut, regardless of whether they would hold up to a Wikipedia check or not.
Johannes Grenzfurthner
Computer games are embedded in the cultural framework of technological developments. In the study of technological development and creativity, focusing attention on the failure, the error, the breakdown, the malfunction means opening the black box of technology. Studies have convincingly demonstrated that the widespread inability to understand technological artifacts as fabricated entities, as social and cultural phenomena, derives from the fact that in retrospect only those technologies that prove functional for a culture and can be integrated into everyday life are "left over." However, the perception of what is functional, successful and useful is itself the product of social and cultural--and last but not least--political and economic processes. Selection processes and abandoned products and product forms are usually not discussed. According to Langdon Winner, there is a sense in which all technical activity contains an inherent tendency toward forgetfulness.
Johannes Grenzfurthner
I think that the figure of the nerd provides a beautiful template for analyzing the transformation of the disciplinary society into the control society. The nerd, in his cliche form, first stepped out upon the world stage in the mid-1970s, when we were beginning to hear the first rumblings of what would become the Cambrian explosion of the information society. The nerd must serve as comic relief for the future-anxieties of Western society. And the transformation I'm talking about is already in full swing: the police gaze of 19th- and 20th-century disciplinary society made visible the individual, which is illuminated by power. In our burgeoning technological control society, the individual is x-rayed and algorithmized. Even worse: the individuals x-ray themselves, willingly putting themselves on display.
Johannes Grenzfurthner
Mankind is a sexual and tool-using species. So it's never old news to deal with the intersection of human desire and ingenuity. As biohacking, sexually enhanced bodies, genetic utopias and the plethora of gender have long been the focus of literature, science fiction and, increasingly, pornography, we explore the possibilities that fictional and authentic bodies have to offer.
Johannes Grenzfurthner
There are still films about bank robberies, but let's be honest, the biggest financial crimes today aren't happening in banks, they're happening on Wall Street. This is happening in the completely abstract datasphere. Capitalism is dependent upon this commodity of speed. Making a film about a bank robbery is maybe funny, but it's completely anachronistic. We have to tell the stories of the 21st century, specifically in a way that people can relate to it.
Johannes Grenzfurthner
In a media-based society (and of course there is no such thing as a non-media-based society consisting of more than one person) it is the signs and significants, the meanings and habits and conventions of speaking and thinking, the images and stereotypes which control everything. It is important to analyze how it is represented and of course what is not represented or how it lacks representation. It's not so much Rupert Murdoch – whose assholeness I will not dispute – that we should attack, but rather something I would call the cultural grammar of the public space. Power is formed within such a grammar. Access and non-access to each and every thing is regulated in its realm. Meanings are negotiated there.
Johannes Grenzfurthner
The emergence of new media (and therefore artistic) formats is certainly interesting. But etching information into copper plates is just as exciting. We think that the perpetual return of 'the new', to cite Walter Benjamin, is nothing to write home about - except perhaps for the slave-drivers in the fashion industry. We've never been interested in the new just in itself, but in the accidental occurrence. In the moment where things don't tally, where productive confusion arises. That's why in the final analysis, although we've laughed a lot with Stewart Home, we even reject the meta-criticism of innovation-fixation articulated in 'neoism'. The new sorts itself out when it lands in the museum. Finito.
Johannes Grenzfurthner
