“Man is a soft machine,
a flexible suit with holes
stuffed with threads
and tubes serving
for nothing but tenderness
and to be warmer than air…”
Exherpt from the poem entitled ‘Mens’ (Human) by Leo Vroman, translated from Dutch by Gwyddion Flint
Above is is a video of my latest installation, entitled SOFTMACHINE. More information will follow shortly.
“For a long time he stood gazing at the owl, who dozed on its perch. A thousand thoughts came into his mind, thoughts about the war, about the days when owls had fallen from the sky; he remembered how in his childhood it had been discovered that species upon species had become extinct and how the ‘papes had reported it each day — foxes one morning, badgers the next, until people had stopped reading the perpetual animal obits.”
“He thought, too, about his need for a real animal; within him an actual hatred once more manifested itself toward his electric sheep, which he had to tend, had to care about, as if it lived. The tyranny of an object, he thought. It doesn’t know I exist. Like the androids, it had no ability to appreciate the existence of another. He had never thought of this before, the similarity between an electric animal and an andy. The electric animal, he pondered, could be considered a subform of the other, a kind of vastly inferior robot. Or, conversely, the android could be regarded as a highly developed, evolved version of the ersatz animal. Both viewpoints repelled him.” Philip K. Dick, Do Androids Dream of Electric Sheep?
“Art’s relation to capitalist culture can, in important respects, be condensed into thinking about its relation to this dialectic of inversion between subject and object. For Marx, this inversion produces an alienation of humanity. Again, in his well-known characterisation of fetishism, Marx writes:
‘…to find an analogy [to the fetishism of commodities] we must take flight into the misty realm of religion. There the products of the human brain appear as autonomous figures endowed with a life of their own, which enter into relations both with each other and with the human race. So it is in the world of commodities with the products of men’s hands.’ Karl Marx, The Fetishism of Commodity
This is a dialectical inversion of subject and object: we can discern a struggle of subjection or subjugation in commodification and, by extension in art.” Stewart Martin, Critique of Relational Aesthetics, Third Text