“The simplest image of organic life united with rotation is the tide. From the movement of the sea, uniform coitus of the earth with the moon, comes the polymorphous and organic coitus of the earth with the sun.
But the first form of solar love is a cloud raised up over the liquid element. The erotic cloud sometimes becomes a storm and falls back to earth in the form of rain, while lightning staves in the layers of the atmosphere.
The rain is soon raised up again in the form of an immobile plant.
Animal life comes entirely from the movement of the seas and, inside bodies, life continues to come from salt water.
The sea, then, has played the role of the female organ that liquefies under the excitation of the penis.
The sea continuously jerks off.”—Georges Bataille, The Solar Anus (via human-activities)
“I’m the robotic kid with caucasian kid programming trying to short circuit the sensory disks. I’m the robotic kid looking through digital eyes past the windshield into the preinvented world. I’m the robotic kid gone haywire in the sudden mounds and coils of krazy-kat landscapes. I’m the robotic kid lost for a fraction of evolutionary time in the outskirts of tribal boundaries; I’ve slipped through the keyhole of an enormous psychic erector set of a child civilization. I’m the robotic kid lost from the blind eye of government and wandering the edges of a computerized landscape; all civilization is turning like one huge gear in my forehead. I’m seeing my hands and feet grow thousands of miles long and millions of years old and I’m experiencing the exertion it takes to move these programmed limbs. I’m the robotic kid, the human motor-works , and surveying the scene before me I wonder: What can these feet level? What can these feet pound and flatten? What can these hands raise?”—David Wojnarowicz, Close to the Knives
Manuel De Landa (b. in Mexico City, 1952), based in New York since 1975, is a philosopher, media artist, programmer and software designer. After studying art in the 1970s, he became known as an independent filmmaker making underground 8mm and 16mm films inspired by critical theory and philosophy. In the 1980s, Manuel De Landa focused on programing, writing computer software, and computer art. After being introduced to the work of Gilles Deleuze, he saw new creative potential in philosophical texts, becoming one of the representatives of the ‘new materialism’. … Manuel De Landa is one of the most original thinkers writing today. De Landa is never afraid to criticize and reject petrified concepts, believing that orderly behavior can arise spontaneously from matter without being imposed by the rational human mind. Being one of the rare thinkers with the ability to offer a study of history with the priority of long-term historical structures over events, his work focuses on diverse fields such as economics, nonlinear dynamics, chaos theory, geology, architecture, self-organizing autonomous systems, artificial intelligence and life, history of science, nonlinear dynamics, and linguistics.
…According to him,the stabilization in nature happens on levels different from what rational thinking teaches us, and one of the main tasks of the human species is to establish a different connection to the environment by rejecting anthropocentric perspectives. What the exploration of the material world can show us is its stratified nature and Manuel De Landa further defines three main forms matter can take: solid, liquid, or gas. The form with the most potentiality is the liquid one, while the limited dynamics of solid structures as well as the overly dynamic gaseous ones are for him uninteresting. The liquid systems are constantly on the edge of chaos, hence constant creation, and therefore can be seen as natural computers.