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, sexual… - Johannes Grenzfurthner

Don't cry for me, cry for Argentina!

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.

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.