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“This is why, where art is concerned, the most interesting thing would be to infiltrate the spongiform encephalon of the modern spectator, For this is where the mystery lies today: in the brain of the receiver, at the nerve centre of this servility before 'works of art'. What is the secret of it?
In the complicity between the mortification 'creative artists' inflict on objects and themselves, and the mortification consumers inflict on themselves and their mental faculties.
Tolerance for the worst of things has clearly increased considerably as a function of this general state of complicity.
Interface and performance - these are the two current leitmotifs.
In performance, all the forms of expression merge - the plastic arts, photography, video, installation, the interactive screen. This vertical and horizontal, aesthetic and commercial diversification is henceforth part of the work, the original core of which cannot be located.
A (non-) event like The Matrix illustrates this perfectly: this is the very archetype of the global installation, of the total global fact: not just the film, which is, in a way, the alibi, but the spin-offs, the simultaneous projection at all points of the globe and the millions of spectators themselves who are inextricably part of it. We are all, from a global, interactive point of view, the actors in this total global fact.”
― Jean Baudrillard, The Intelligence of Evil or the Lucidity Pact

“The ends of the screen continued to exceed the fields of meaning and create others that immediately, and almost through the impetus of their unfolding, cut huge and savage zigzags. Astronomy. The ability of parrots and blackbirds to speak. The diesel engine. The Assyrians. Coffee. Clouds. Screens, screens, and more screens. They were proliferating everywhere, and he had to pay close attention to make sure that no sector failed to be sorted. Fortunately, Dr. Aira had no time to notice the stress he was experiencing. Attention was key, and perhaps no man had ever brought as much of it to bear as he did for that hour. If the circumstances had been less serious, if he had been able to adopt a more frivolous perspective, he could have said that the entire procedure was an incomparable creator of attention, the most exhaustive ever conceived to exercise this noble mental faculty. And it did not require an extraordinary person; a common man could do it (and Dr. Aira would have been quite satisfied to become a common man), for the Cure created all the attention it demanded. It wasn’t like those video games, which are always trying to trick it or avoid it or get one step ahead of it; to continue with this simile, it should be said that the operator of the Cure was his own video game, his own screen, and his own decoys, and that far from defying attention, they nurtured it. Despite all this, the effort was superhuman, and it was yet to be seen if Dr. Aira could hold out till the end.”
― César Aira, The Miracle Cures of Dr. Aira