Everyone can dream, and must have dreamed his whole life,
of a perfect duplication or multiplication of his being,
but such copies only have the power of dreams, and are destroyed when one attempts to force the dream into the real.

TRANSLATION

The activity or process of changing something into a different form.

To be a subject was good; to be an object was bad. But, as we all know, being a subject can be tricky. The subject is always already subjected. Though the position of the subject suggests a degree of control, its reality is rather one of being subjected to power relations. […]

How about siding with the object for a change? Why not affirm it? Why not be a thing? An object without a subject? A thing among things?

Desire does not lack anything; it does not lack its object. It is rather the subject that is missing in the desire, or desire that lacks a fixed subject [...]. Desire and its object are one and the same thing: the machine, as a machine of a machine. Desire is a machine, and the object of desire is another machine connected to it.

Baetylus is a city of artificially created close proximities.

The conceived system will constantly adapt to its inhabitants, those who gladly unite with the object and who find ecstasy in the hedonistic commodification of their dreams. Users are analysed by the cities algorithm, which interprets their desires through gathered data and materialises them into the city’s fabric where they dissolve, intertwine and clash.

The embarrassment of lacking is subverted by the accelerated spectacularity of the generated. The recursive notion of the closed system will only be interrupted by the singularity of the glitch.

function desire(beauty, fun, lust, lack) { }

Encryption, as a process, indicates the encoding of a message, rendering it unreadable or inaccessible to those unauthorized to decipher it. To consider glitch as a form of encryption, we render the plaintext of the body as cyphertext. Encryption offers a mode of privacy; encoding of content creates secure passageways for radical production. Glitches as encrypted (machinic, social, cultural) material remind us that there are gaps and hidden histories, parts of the file that cannot be heard and stories that will never be known to certain audiences. Through this encryption, the glitch creates a new vernacular, one that allows for new modes of signification