Johannes Grenzfurthner Quotes

The future is like the Jetsons, plus rape.

I always wonder what the official web site of the GDR would look like if they were still around. Would they use Flash? Or HTML5?

Contemporary art -- the field we are usually working in because there's money -- is mostly concerned with systems or systematic concepts. In the context of their work, artists adapt models of individual art-specific or economic or political systems like in a laboratory, to reveal the true nature of these systems by deconstructing them. So would it be fair to say that by their chameleon-like adaptation they are attempting to generate a similar system? Well... the corporate change in the art market has aged somewhat in the meantime and looks almost as old as the 'New Economy'. Now even the last snotty brat has realized that all the hogwash about the creative industries, sponsoring, fund-raising, the whole load of bullshit about the beautiful new art enterprises, was not much more than the awful veneer on the stupid, crass fanfare of neo-liberal liberation teleology. What is the truth behind the shifting spheres of activity between computer graphics, web design and the rest of all those frequency-orientated nerd pursuits? A lonely business with other lonely people at their terminals. And in the meantime the other part of the corporate identity has incidentally wasted whole countries like Argentina or Iceland. That's the real truth of the matter.

Computer games are embedded in the cultural framework of technological developments. In the study of technological development and creativity, focusing attention on the failure, the error, the breakdown, the malfunction means opening the black box of technology. Studies have convincingly demonstrated that 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. According to Langdon Winner, there is a sense in which all technical activity contains an inherent tendency toward forgetfulness.

The great gender unifier is your asshole.

Imagination is an abuse of power.

I think that Man in creating God somewhat overestimated his abilities.

The information age is an age of permanently getting stuck. Greater and greater speed is demanded. New software, new hardware, new structures, new cultural techniques. Life-long learning? Yes. But the company can't fire the secretary every six months, just because she can't cope with the new version of Excel. They can count their keystrokes, measure their productivity … but! They will never be able to sanction their inability! Because that is immanent.

Since the advent of modernism, artists have been seeking to loosen the entanglement of work and subject, because they saw themselves pushed into a role that they did not necessarily want to occupy: one which offered freedom and independence on the upside, but in combination with isolation and powerlessness on the downside. While the workers of the Fordist factory developed collectivist strategies to pursue their goals, the particularities of the artist's existence – cast as productive eccentricity and manic-depressive individualism – made it more difficult for artists to organize to achieve their demands and improve their precarious living and working conditions. It was only with great difficulty that this group, condemned to autonomy, could free itself from the prison of its freedom.

Companies like Nike already use Graffiti as a standard variety in their marketing campaigns and the first people who read Naomi Klein's 'No Logo' were marketing gurus who wanted to know what they shouldn't do.

Oh, Tolkien, that miserable Catholic. He even hated refrigerators. A technophobic academic who probable would have fucked Ireland, if Ireland were fuckable.

The human is a narrative being. We construct emotional machines, so-called “stories”, to communicate, to share the world in which we live and make it collectively experienceable. And we are pretty good at doing that. Since the primordial soup at some point mendelized into primate brains, we have either been fleeing from big cats or telling others about our escapes from the clutches of big cats. Sitting around the campfire, interpreting and breaking down the world, charging it with aura. Initially this was all very mythopoeic, and slowly it became more differentiated. But even in the post-Enlightenment age, world interpretations are not necessarily particularly rational. Good stories sell well, and the best stories are the ones that hit you in the gut, regardless of whether they would hold up to a Wikipedia check or not.

In a media-based society (and of course there is no such thing as a non-media-based society consisting of more than one person) it is the signs and significants, the meanings and habits and conventions of speaking and thinking, the images and stereotypes which control everything. It is important to analyze how it is represented and of course what is not represented or how it lacks representation. It's not so much Rupert Murdoch – whose assholeness I will not dispute – that we should attack, but rather something I would call the cultural grammar of the public space. Power is formed within such a grammar. Access and non-access to each and every thing is regulated in its realm. Meanings are negotiated there.

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.

Privacy is a bourgeois fantasy.