So then I thought right, what happens with an artist who draws the body, who deals with the body all the time? I know, they have affairs with the life model, don’t they? They have their muse. So I thought right, let’s take this, let’s look at technology, let’s have an affair with this tech. Let’s try and put the sex into it. Let’s sex up the technology.
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Let’s ask a very simple question. Why are there so many art projects today? Because we live in the world of mass art production. Basically everyone is an artist nowadays. Or at least he or she has an artistic project. We can speak of a surge in the creation of art. The production of art is proliferating.
For any artists that are working in this field now, if I was good at painting I’d probably be looking at how to find styles that work well with these kind of representations and make them easily automatable or transferable so that if I had fans as an artist they could say, “Hey, I would like to have a picture of my cat painted.”
I use my body, as a lot of people do that work in public, as a kind object of commerce, frankly. When I go out and do a gig, somebody has to pay for the presence. And that’s a certain gig. When you’re still pushing a hype like that, you lack cultural weight until you get to the end of that story where everybody knows you really don’t have to anymore except for an interior reason.
I think that what I want to say is that the polemics around the discourse of the Web are too binary. I think that one of the problems that we have in theorizing the Web is that we tend to moralize it in binaries. I get it. It’s bad. The Web is bad for you. Or the sort of free culture is always like, “It’s really good. It’s great. Free culture is great.” It’s neither.
It’s interesting and scary to think about an Earth that could be completely controlled by humans, but it seems like it’s definitely possible. I could find fun thinking about living under the sea or all the places that humans really haven’t been able to sustain themselves in very well. Like, if we could really get control of that. I mean, it’s definitely a dark future, but I think something that I could embrace if we did go there.
[We] could hope because we’d seen what it had done for us. We were refugees from the world’s cynicism because we’d grown up in belief, and knew just as our mothers knew, that each act of making is born out of hope because there, in the rank earth where cynicism flowers, nothing grows.
I’m here today to talk to you about food and design. About what’s cooking in design, and what’s designing in food. But most of all I’m here to recommend to you never to let designers decide what you will eat.
I think if there are people who are able to take a step backwards, take that proverbial zoom out, and realize that everybody’s kind of doing the same thing in different ways, and be able to step from one perspective to the other and ask different kinds of questions based on where they are at any given moment time, then it just becomes a game. I think it becomes joyful and engaging. I mean, I’m not interested in finding the answer to anything. I don’t think there is the answer to anything.