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The internet is already over (2022)
Our God is a devourer, who makes things only for the swallowing.
That rectangular hole spews out war crimes and cutesy comedies and affirmations and porn, all of it mixed together into one general-purpose informational goo, and I remain in its trance, the lifeless scroll, twitching against the screen until the sky goes dark and I’m one day closer to the end. Soon, people will find it incredible that for several decades all our art was obsessed with digital computers: all those novels and films and exhibitions about tin cans that make beeping noises, handy if you need to multiply two big numbers together, but so lifeless, so sexless, so grey synthetic glassy bugeyed spreadsheet plastic drab. The world teemed with new services: simply dab at an app, and the machine would summon some other slumping creature with a skin condition to deliver your groceries, or drive you in pointless circles around town, or meet you for overpriced drinks and awkward sex and vanish.
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