So Much For Gravity

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Stop thinking about art works as objects, and start thinking about them as triggers for experiences. (Roy Ascott’s phrase.) That solves a lot of problems: we don’t have to argue whether photographs are art, or whether performances are art, or whether Carl Andre’s bricks or Andrew Serranos’s piss or Little Richard’s ‘Long Tall Sally’ are art, because we say, ‘Art is something that happens, a process, not a quality, and all sorts of things can make it happen.’ … [W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you — so the value of the work lies in the degree to which it can help you have the kind of experience that you call art.

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We are buried beneath the weight of information, which is being confused with knowledge; and quantity is being confused with abundance and wealth with happiness. We are monkeys with money and guns.

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But none of them realized as Dalí did that dreams are actually not indistinct and misty and floaty. They happen in the middle of the afternoon. Crystal clear. …And dreams don’t have a subtext. You don’t think in a dream. The most unusual stuff happens in the most unusal way. All in broad daylight with no shade.

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You’re a ghost driving a meat coated skeleton made from stardust, what do you have to be scared of?