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Producing language, we wank, we eat, we regurgitate, we research, we demonstrate, we expel; with what has been expelled we repaper our bodily walls, and this wallpaper is intricate, befouled, and potentially asemic—nonsignifying scratches without a linguistic system backing them up, scratches we nominate as words by agreeing together that this scratch means wank, that scratch means cang, this scratch means diatomaceous, that scratch means masks… Literature—the respite of the fallen—is the process of making do with mask and task, diverting ourselves with tasks that mask our disenfranchisement. We are disenfranchised, regardless of our station, because we belong to an earth that will continue to bear our presence only if we remain adequate custodians of this material envelope, fragile, in which we dwell, an envelope consisting of just a small interval of habitable temperatures. To unmask the systems that will destroy our possibility of inhabiting the earth is the task of a language that operates through masks and the avoidance of tasks.”

-Wayne Koestenbaum
The Writer’s Obligation

The truth is that there are two ways in which the future can become obsolete. One is through the inability to imagine the New: in this model, the idea of building a Tower never occurs to us; we are content to stay on the ground. The other happens when the New becomes so perpetual and unrelenting, when the construction of the Tower becomes so consuming, that we no longer have the luxury or the inclination to look up… You cannot have a future without a sense of the past, and there is no quicker way to make both obsolete than by insisting on the urgency and the singularity of the present.”

Meghan O’Gieblyn on deep time
and Long Now’s 10,000-year clock