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Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century.
Given that external reality is a fiction, the writer's role is almost superfluous. He does not need to invent the fiction because it is already there.
Hell is out of fashion -- institutional hells at any rate. The populated infernos of the 20th century are more private affairs, the gaps between the bars are the sutures of one's own skull. A valid hell is one from which there is a possibility of redemption, even if this is never achieved, the dungeons of an architecture of grace whose spires point to some kind of heaven. The institutional hells of the present century are reached with one-way tickets, marked Nagasaki and Buchenwald, worlds of terminal horror even more final than the grave.
I believe that organic sex, body against body, skin area against skin area, is becoming no longer possible, simply because if anything is to have any meaning for us it must take place in terms of the values and experiences of the media landscape. What we're getting is a whole new order of sexual fantasies, involving a different order of experiences, like car crashes, like travelling in jet aircraft, the whole overlay of new technologies, architecture, interior design, communications, transport, merchandising. These things are beginning to reach into our lives and change the interior design of our sexual fantasies. We've got to recognize that what one sees through the window of the TV screen is as important as what one sees through a window on the street.
I thought it was a wonderfully conceptual act actually, to fire a replica pistol at a figurehead -- the guy could have been working for Andy Warhol!
People nowadays like to be together not in the old-fashioned way of, say, mingling on the piazza of an Italian Renaissance city, but, instead, huddled together in traffic jams, bus queues, on escalators and so on. It's a new kind of togetherness which may seem totally alien, but it's the togetherness of modern technology.
Perhaps violence, like pornography, is some kind of an evolutionary standby system, a last-resort device for throwing a wild joker into the game?
Pop artists deal with the lowly trivia of possessions and equipment that the present generation is lugging along with it on its safari into the future.
Science and technology multiply around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute.
The car as we know it is on the way out. To a large extent, I deplore its passing, for as a basically old-fashioned machine, it enshrines a basically old-fashioned idea: freedom. In terms of pollution, noise and human life, the price of that freedom may be high, but perhaps the car, by the very muddle and confusion it causes, may be holding back the remorseless spread of the regimented, electronic society.
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