Announcing a new project: Its called W0RLDLINE aka POST.CONSUMER.CULT II.
Blood type Abu and prostitutes own capital.
Dizzy media:
material, and social spiritual aspects of worship sites. Objects of culture and extraordinary carriers, irreversible nature fixed by demagogy and mutations. Energy of political abuse, notable for the decline of civilization. Primitive death cultures, the beginning of growth and creativity, starting at home in hell. In the context of new dependencies, the loss of constant post-Fordist culture.
Maternal temples, spiritual links, cultural instruments, and non-responsive celestial fairytales — the atmosphere of goods and common distribution. Mechanical exploitation and destruction of art, spiritual changes, and a gallery project after Benjamin, which is still unfinished. Large-scale study and application of several methods in physics to accelerate Gods.
Material effects, strong Slavic unity and consumption available. Richard Kelley’s film ‘Tales of Africa’, the Internet points to a rich existence. The battle against authoritarianism and the world economy.
In 2010, real usage and worship in the atmosphere of life were brought about by disassociation in Web 2.0. Physically engaging genres and infectious expressions. The interface of life with restaurants, menus, and compressed cents.
This reversal activates the real-time regime and vibrant consciousness of material non-responsiveness. Consuming spectatorship and waste. The transmission of information to consumers and the creation of physical emptiness. Communication of information stages and pure feelings. Philosophical reflection in Iranian philosopher Rezafilasofskih’s stations, fictional ‘Philosophy of The Whirlwind Encyclopedia’.
Humanitarian machines and the growth of unique digital technologies. Samsung Techwin SGR-A1 customer support inquiry. Anticipation of digital connections between Islamic contrasts and ancient giants. Vacuums of California, the forgotten world. Indicating mutual relationships and real speculative production.
This particular feature reveals economic hits in ancient consciousness. New era awareness by French philosophers, moving through landscapes, generating negative symptoms of past methods for increased awareness.
Real-time data, ultimate mediations, achieving goals, and information ownership. Radical shifts propose a unique possibility of cultural expansion, unrelated to real destruction and material decline.
Capitalism’s new era abuses physical and spiritual creativity, and the deep ecology of collapse creates artificial connections. Generally speaking, cultural worship and opposition to power indicate the future economic restructuring of the the world wide web.
Christianity and Jewish initiatives in Uroboros. Consumption opposition against the slavery of capitalism. Understanding new spiritual independence in brands and economy.
Web.8.
Zyan.
Intermania.
What is W0RLDLINE?
W0RLDLINE builds on a body of work that I first developed during the period of 2009–2010.
The projects from that era, including Symptoms, Old Earth Objects, PHILIPS 2013, and POST.CONSUMER.CULT aimed to respond to rapidly occurring cultural, technological and economic shifts, including advancements in consumer technologies, military applications, surveillance, and the detrimental effects of globalisation, considering the consequences and changes these processes were having on traditional belief systems and cultural frameworks.
Those projects also aimed to address the consequences of rising authoritarianism and rapid climate change, considering how mystical and esoteric forces might subtly influence the reproduction and representation of an evolving materially obsessed consumer society at the intersection of emerging New Age beliefs.
I see these projects as key elements in the development of my work and its core concerns — particularly in the representation of spiritual decay. They continue to be presented in what I call the “transmedia cloud formation”, which refers to a collection of media content that is grouped together in a scalable and modular format [usually a webpage] that allows for interchangeability, adaptation, and continuous revision and innovation.
I love this configuration, but it can sometimes feel somewhat ephemeral, vulnerable, unstable, and entropic. That’s actually its strong point though, because the real tangibility lies in an understanding that the conceptual framework for a particular project has become a system; something that feels more like code than concept.
With the birth of AI, everything changed. Now “Systems Art” can be automated, and it can self-improve with the help of machine learning in symbiosis with bio-feedback. I might not seem like one of those artists who is worried about machines obsolescing the inherent craft of a meat-sack creator, but the reality is that this technology is incredibly powerful, and we are now set for massive disruption.
I think that people need to understand that AI doesn’t destroy human creativity, but it does challenge the type of aptitude and ability that we need to develop as we adapt; you’re basically forced to evolve new attributes beyond traditional legacy skill sets. These adaptive capabilities won’t make us machine-like, because they actually represent higher order human ingenuities that machines will — if we can get it right — support.
What does W0RLDLINE signify?
The title “W0RLDLINE” refers to the concept of a “worldline” in physics, which is a path that traces the history of an object through space-time.
This concept can be tied to the many worlds interpretation of quantum mechanics, where we could imagine a branching of separate timelines that represent different versions of reality.
W0RLDLINE, as a sequel, a continuation, a remix, and an adaptation of POST.CONSUMER.CULT from 2010 is exactly that. It represents a modulated probability amplitude that has shifted the course of events from the late 00’s era into a new reality - retaining much of the original aesthetic integrity, which has now evolved.
It’s as if we are witnessing a parallel world line, where instead of technology becoming bland and homogenous, the eclectic consumer-electronics landscape of this unique historical period; where things like Sony robotic entertainment systems, Philips sexual devices, squid shaped plug adapters, translucent electronics, military sentries, and wooden phones, continue to evolve as society transforms towards consumer-grade quantum computers and AI powered combat-machines.
With the recent attempted assassination of Donald Trump, we might consider how a few millimetres difference — a slight turn of the head, could have potentially created a situation where America is engaged in brutal Civil War right now, and maybe that is happing, just on slightly different W0RLDLINE 🌎🔥.
POST.CONSUMER.CULT.
2024.
