Bodies are becoming like cities,
their temporal coordinates transformed into spatial ones. In
a poetic condensation, history has been replaced by geography,
stories by maps, memories by scenarios. We no longer perceive
ourselves as continuity but as location, or rather dislocation
in the urban/suburban cosmos. Past and future have been exchanged
for ¡cons: photos, postcards, and films cover their loss.
A surplus of information attempts to control this evanescence
of time by reducing it to a compulsive chronology. Process and
change are now explained by cybernetic transformation, making
it more and more difficult to distinguish between our organic
and our technological selves. It is no longer possible to be
rooted in history. Instead, we are connected to the topography
of computer screens and video monitors. these give us the language
and images that we require to reach others and see ourselves.
Almost a relic, the body is exercised and sanitized to glorification.
It is the last refuge of identity. Like the vanishing city,
the body remains as the only concrete proof of existence. Yet,
scattered and fragmented under the weight of technology, body
and city can't be recovered by means other than those that displace
them: they must be recorded or registered anew. Video replaces
the personal diary. Made up of images, urban culture is like
a hall of mirrors, its reflections reproduced to infinity. Confronted
with their own technological images, the city and the body become
ruins. Even technology is attacked by an obsolescence that renders
it old instantly. We are faced with a transitory landscape,
where new ruins continually pile up on each other. It is amid
these ruins that we look for ourselves.