Austrian artist, writer, curator, and theatre and film director (born 1975)
Johannes Grenzfurthner (born June 13, 1975, in Vienna) is an Austrian artist, author, director, researcher. He founded the art and theory group monochrom.
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My nerdy teenage rebellion was to confront my parents with the scientific method, challenging their weird beliefs, asking for peer-reviewed data and scientific context. I remember that one day when I was 15, I asked my mother to use her divining rod and a piece of paper to determine the first 30 decimal values of pi. It took her three hours and not a single one was right. That felt like a huge success, but she just told me she had a bad day because of the full moon. Tomorrow she would try again and would succeed. And if not, who says that the 30 digits of pi in the math books are actually right? Maybe her version was correct in the first place and she had access to a higher knowledge? It simply wasn't possible to challenge her.
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.
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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.
If I had not grown up in Stockerau, in the boonies of Lower Austria, than I would not be what I am now. The germ cell of burgeoning nerdism is difference. The yearning to be understood, to find opportunities to share experiences, to not be left alone with one's bizarre interest. At the same time one derives an almost perverse pleasure from wallowing in this deficit. Nerds love deficiency: that of the other, but also their own. Nerds are eager explorers, who enjoy measuring themselves against one another and also compete aggressively. And yet the nerd's existence also comprises an element of the occult, of mystery. The way in which this power is expressed or focused is very important.
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.
Historically speaking, the first wave of the punk/new wave (approximately 1976-1983) was primarily a movement of creative abuse of hardly-ever-used consumer media technology. Parents (usually technophile Baby boomer dads) bought expensive equipment like 8-track recorders, Super-8 and Polaroid cameras and later VHS camcorders and only used it to "document" birthday parties and other eminently boring ceremonies. But the rebellious teens found interesting new things to do with the dust-collecting media tech, and it started one of the biggest DIY revolutions of the 20th century. So punk (years before cyperpunk) was a movement of youngsters goofing around with (aka appropriating) consumer tech.