We get lost. We all do.

Ich traf eine Frau in einem gelben Regenmantel, in der Hand trug sie eine halbleere Flasche mit Orangensaft, sie bat mich um einen Stift. Sie zeigte auf mein grün angestrichenes Fahrrad: Das ist schön, der Radkasten da soll das Haus sein. 

Es war der erste kalte Tag im Oktober, der viel zu warm gewesen ist, wie jetzt alle Monate viel zu warm sein werden. 

what if, instead of pressing on, pause for a moment?!
(and I fear, when I pause, I might just as well stop right away.)

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You are all indicted; stand up! Stand up as you would for the Marseillaise or God Save the King….
Dada alone does not smell: it is nothing, nothing, nothing.
It is like your hopes: nothing.
like your paradise: nothing.
like your idols: nothing.
like your politicians: nothing.
like your heroes: nothing.
like your artists: nothing.
like your religions: nothing.
Hiss, shout, kick my teeth in, so what? I shall still tell you that you are half-wits. In three months my friends and I will be selling you our pictures for a few francs.

(Manifeste cannibale dada by Francis Picabia, read at the Dada soirée at the Théâtre de la Maison de l’Oeuvre, Paris, 27 March 1920.)

Ai generated imagery is the realisation that we have arrived at the end of history and that everything that follows will only be a remix of what is already here.

The wet dream of capitalism coming true: a constant regurgitating of the already existing, no need to produce anything, just continue to capitalize on what is already there, a perpetuum mobile that violently suggests it is moving when in fact it is frozen in its own path.

 And if mark fisher had not already killed himself, he would probably do it now: it is like he had willed his own nightmares into existence.

Compartimentalisation is a psychological necessity to suspend your emotional response and move into a purely functional state. otherwise, you break down and weep. How much of this “suspended state” is the normal way of how photography works? Daido Moriyama calls it his “Hunter”-instincts, and Stephen Shore escapes into a cold, scientific mode and calls it “Solving Pictures”. When Nakahira says “Photography needs to stop being art. It needs to stop expressing feelings. When it is completely a record, it can be something”, he actually means “I have to stop feeling”, he wants to turn himself into a photographic machine: and ends up burning all his negatives and drinks himself into a coma… The “Tetsuo”, the “Iron Man” is a very Japanese/photographic way of operating…

And the other way becomes difficult: the issues of representation, the consciousness about the social contract of photography – all that baggage of being a sentient, social human being can bring photography to a grinding halt and freezes your finger over the shutter. Is it necessary to become a photographic monster (like Diane Arbus most certainly was…) to get anything done at all?!

Looking for the room where wishes are granted.

What does this mean to nascent ecological awareness? Humans are not totally in charge of assigning significance and value to events that can be statistically measured. The worry is not, that the world will end, as in the old model of dis-astro, but wether the end of the world is already happening, or wether perhaps it might already have taken place. A deep shuddering of temporality 

 — Timothy Morton, Hyperobjects