The future is certain, it's the past that is unpredictable. I often think of this saying from the Soviet period. It is evocative of the post-communist state of mind, like a past that is hard to pin down but supposed to represent autopian future of our common liberation. Living in turmoil, between the certain and the unpredictable, is, so to speak, a familiar feeling. So speculating about the past and the future becomesa powerful tool for grasping this reality. It's like a game: a game of dates, a game where memories mingle with history. The operators of the www medias have understood this better than we have. We see it on the blue screens of our monitors, computers and telephones, in an aesthetic consecration of techno-feudalism. Everything becomes a relationship of affects in the face of the infinite range of information we receive and give, broadcast in wavelengths and ultra- high resolution. Our relationship with images is transformed by the very materiality of the medium on which we watch the daily consecration of a necropolitics that stages itself, where reality and facts are burnt before our eyes. The ultra-high definition of violence merely prolongs the persistence of digital auto-da-fé. Imagining a new temporality means breaking away from the regime of ultra-real images.

Is the future really certain and the past unpredictable? Time is a trick of the mind. We could just as easily say that the future is past and the unpredictable is certain (or reverse these terms). We need to reappropriate the tools of speculation in order to understand the perception of an imposed 1080p reality, afk or not. Artistic objects are hyperobjects that can be deployed anywhere in infinite time and offer multiple perceptions. It's a living archaeology, in constant mutation. In my opinion, this is precisely where a privileged space lies for the proliferation of new meta-narratives. But that's not enough. Emancipation in the worlds of art cannot come about without acting on the conditions of artistic creation, as well as onthe power relations structuring the economy of the imaginary and the dominant regime of images. Aesthetics is a political object that must be understood as such, both in terms of its content and the ways in which it is produced.