glowinthedark

afterglow of afterglow

In the light of the setting sun, Men either beat the pot and sing Or loudly bewail the approach of old age. Misfortune.

The sun at the foot of the mountain: The image of grace. Thus does the superior man proceed. hen clearing up current a!airs. "ut he dare not decide contro#ersial issues in this way.

 hen confronted with no#elty, the $ampyroteuthis Infernalis %olts its glow&in&the&dark ink. In humans and $ampyroteuthes the transmission of information is a cumulati#e process' they are historical animals, so to speak ( animals that ha#e o#ercome their animal nature.The central problem in glowing&in&the&dark is memory. The artist forgets that he is committed to the transmission of ac)uired information to other humans, and he allows the ob%ect to swallow up his commitment. $ampyroteuthian art may ser#e as a model for understanding this cultural re#olution ( the history of human art may be di#ided into three une)ually long stages. The *rst stage lasted up until the *rst industrial re#olution, the second for the duration of industrial society and the third started with the second industrial re#olution and leads into a future as yet unimaginable. +uman self&actuali,ation is no longer the struggle against the insidious resistance of inert ob%ects, for this struggle can be left to the machines and apparatuses. +uman work becomes super-uous. +uman self&actuali,ation from now on is the manipulation of new immaterial information, or what is known as & software processing. In this conte.t, & soft un)uestionably refers to mollusks. e create chromatophores /tele#ision, #ideo, computer monitors transmitting synthetic images0 with whose help the senders deceitfully seduce the recei#ers ( a strategy that will doubtless be called ( art. & $il1m 2l3sser

Decay Sustain's Release of Afterness' Shine:

hat is the afterglow of afterglow4 Metapocalypse. Radioactivity as it affects the body. Organis s! perhaps party. Mild consciousness. Another illusion. "et another beginning. #ltraviolet. $ang. A nap. %ac& to nor al. S ell of asperges. 'ternal beauty. (ight and all its na es. Death. )onfusion is se*. %orgean irror labyrinth hangover. +utire. ,he -low. After. Metaprogra ing. ,he e*plosion after the pi&adon. (othing. /echblenda. %lindness after staring at the sun 0 the e otion that e brace the body 0 soul post e*periencing a powerfull aurora borealis. 1eftover fro a 2replace. ,his is a very di3cult 4uestion because the afterglow is a sub5ective sub5ect and ight only have an afterglow for so e people but not for others. 1ife! new strat and new beginnings. Repeating the sa e astai&es. 6e need to &now which glow we had! if we had any. ,he glow in the digital real is seen ore li&e an euphoria than so ething really recogni7ed as brilliant or shinning by other circuits. +ow is your work already o#ercome and obsolete4 +ro the beggining y code couldn't anage the interactions 8 needed. 8t is absorbed by the 9ooded over ediated pool. 8t us not be so. %y not trying. 8t was always overco e i a wor&ing bac&wards. )loudy. 8t never happened. %y so any other great artists. All technology is an appro*i ation. %y being inco plete. 8t has not. %y other people thin&ing their wor& is not. %eing y passions. My irror is bro&en. %y a friendly soul. 6al& with planned obsolescence. 8t is started overco e and obsolete. 8t is painfully s all. As snapshot glitch panora ics the ti e 0 place are gone for ever: the present is already the past. $ow is not relevavant here. As& e again. Our wor& started off as obsolete and we are hoping that it beco es even ore obsolete because then we will have reached the ulti ate goal which is pointlessness. +ow does your work entrain socially4 -enerating unconscious and drea s. 8t confronts you to respond! it will not necessarily entertain. 8t doesn't. %y du pping trash in an art institituion. Directly hitting the target ussing bad forbidden words. Sha anicly. /hysical phun. 8ts a chance toopt in. 6e sing together. $ardly generating affections. 8t a&es you unco fortable. (o one cares. Machine;e pathic cartographies. Off the grid. ,rying hard to getting into the grip. 8t does not. 'ntirely. (o 4uestions as&ed.

+ow does your work contributes to the decay of the world and culture4 8 a trying to connect unconsciency. 'ntertains the idea that the universe is alive and growing! learning. Desire of negation. 8t is the decay! doesnt contribute. 1iving is a deadly issue. 8 personating it. t generates a proble . %y deconstructing popular languages. %y abdicating personal boundaries i posed by crappy technology. 8t'll be irrelevant ne*t wee&. ,he decay is older than y wor&. ,hrough health industry. 8t adds acade ic assets to the cultural stoc& ar&et. 8ts decays through reconte*tuali7ation. #ncovering unintentional aestheics. /ostponing it. 8t does not. 8 agine a drea . 8 a not in the position to answer. 2or how long your process must be sustained for it to work as desired4 8 don't thin& it could go further. 8t ust continue for as long as it ta&es. %etween < inutes and =>> years. As long as you use software: ato s of seconds but continuosly. Orever. >.?@ seconds. +or an indeter inate lenght. 8'll be happy if @ people use it. 6ee& or so. +orever. One deep breath. +or one sincere o ent. 8t ust not be sustained but rebooted. Several generations. (anoseconds.co . )enturies. 8nstant. ,he present is already the past. +ow may we release from the burdens your work create4 )elebrate yur wro&. 6ith a little passion. "ou cannot. Don't release! ove on. ,his is indecidable. Drugs! e*ercise! weeping. %y creating your own rituals at ho e. Aero burden. "es. %y acting on your local issues and forgeting what you heard. %y creating li itlessly. #nplug. ,hat's very ean to say. 8 do not. "ou ay not. "ou can not. hat is essential about your work and what is mere ornament in it4 8t is 5ust adornation! but in the way of fetichis and transfor ation. ,he fun! and the lac& of eaning. ,rash is production of capital. Spontaneous spar&s. )oncentration. ,ranscendent e*periences for any speci2city. Affection is essential! but only as a by;product. ,he graphics are super9uous! but it catches peopes eyes. 'very orna ent is essential. 1istening is the core and code is the s&in. ,he i portance of the 4uestion being as&ed.(ot being able to share your e*perience. Orna ent is not dead. Mostly orna ent with incidental wor&. ,he whole thing is ere orna ent. /ower is.

+ow does your language deals with aftermath4 Anwfully. Se iotic guerrilla. One step at the ti e. Bisually. Silence. Sy bolic intuition. %y e*ploring post western aesthetics via western culture. 8t doesn't! other than a slight acceleration towards this ineviterfuc&ers.ability. 8 learnt so e new art words! thus &illing a nor al vocabulary. 6e will singC (onsense ta&es us through nu bers! lights of ti es. 8nternally. 6e don't spea&. So e ornings 8 wa&e up and as&: D6hat did 8 said.E 8 let yself be corrected. Math after ath. ,he spectator eyes 0 ind is trigered to e*press deep feelings. hat will, ine#itably, endure from your work4 (othing. ,he sa e as this dude before e said. /rivacy! and cash. ' otions and e otional e ory. /lastic waste. $opefully nothing. 8t will ost li&ely sit on a server for a ong ti e. Docu entation. (eologis s. Strange e ories. Maps of previously unsensed i pressions. %atteries./ac&eging. 8ts duration. Ato s. A void souvenir. 6hat d oes your work needs from all the other works4 Absolutely everything. As collective intelligenge agency. 8 need fans. (eeds thheir production. As uch as they need e not ore. 8t is inevitable. ,he collaboration of hu anity. 8t needs people. 8t needs cnte*t. ,hey are the ediu . ,o create an appropriate listening environ ent. 8t needs followers. 8 dont undersstand the 4uestion. ,o be able to e*ist. (o others! we co plete each other. ,heir e*istence. /ower. )onte*t 0 interaction spontanity. hat this e#ent may become after our mistakes4 8t is 5ust vain. 6ell! it ay never be seen or heard. 1iving organis s interact with the whole. A e ory. = inute video on an internet site. A warning. A still picture. A learning e*perience. +orgotten. Banish. ,here are no ista&es. A ore co7y place for all &inds of techni4ues! not only the productive industrial ones. )onnections through creation. Sensible. "our ista&es are not ours. An event affected by ista&es. ,here is no right or wrong 5ust e*peri ents. +ow is this process useless4 8t is 5ust vain F the hu ans versus the planet people. 8n any ways. 8 dont &now. 8t's not useless! everything is useless then. 8t is not functional in this di ension. /laying is never useless. 6e're trying for it not to be. 8t's dependent on GconHte porary ideals and ideas. #seless is a nihilistic! but its part of y e*istance. %ecause we are all useless oths. 8n a sweet way. 'verything can be useless if you let it be. 8f you believe it is. $ow is it usefull. 8t should be. Iust as life.

A ,rash )o et's ,ale:

as leeches appear on apples and ideas blossom facts as care unfolds into ethical and bodies in images tacts as the song entrain #oices that dissol#e into noises and words become ink as emotions turn to think o#erhang hang o#er, decadence decays blindspot of sight, fallen sounds we say producti#ity out of relations networks into a!ections structural energetic elations detection motion detection drying is the turning of the gear burning is the processor5s skin printing pages none shall read in languages not yet to speak programming traps out of maps only oursel#es could into step for the spectacle of the show as death for the coinage -ow that decantation e#ery dead poet knows stardust glimpse we are for the afterglow

D6e ust loo& seven generations into the future to &now the effects of our decisions! choices and actions so we will a&e wise choices which will be good for us and for those who shall co e after us.E ; )hief Seattle

D$ere the end of the day has co e. ,he light of the setting sun calls to ind the fact that life is transitory and conditional. )aught in this e*ternal bondage! en are usually robbed of their inner freedo as well. ,he sense of the transitoriness of life i pels the to uninhibited revelry in order to en5oy life while it lasts! or else they yield to elancholy and spoil the precious ti e by la enting the approach of old age. %oth attitudes are wrong. ,o the superior an it a&es no difference whether death co es early or late. $e cultivates hi self! awaits his allotted ti e! and in this way secures his fate.E

DDon't be sad. %e li&e the sun Always on noon.E