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Cinema El Dudebro

The way we store and arrange information, in a cloud of hopelessly inadequate folders in folders and equally weighted key terms, or on pin-boards in the secret storage sheds of Rust Cohle and Carrie Mathison. This, in contradiction to the spatial metaphors that we use to comprehend and describe our memory – the physical spaces of vessels and drawers, catacombs and dark recesses, and the texture and thinness of the fragments and mistakes that they hold. You know the point of lying down at the end of yoga? Not to assimilate the benefits of being middle class into our dank bodies, but to let the mind briefly nudge, without conscious intent, a thought that has been allowed to float outside. Regardless, the spatial metaphor of our minds and memory is entrenched in the rooms of houses, in caves, on the rungs of library ladders, in garbage cans. Instead of these spatial metaphors of memory being transformed by digital experience (whatever that is – is it a cloud) they are being solidified further by the same Cinema El Dudebro plot twists that fetishise rows of zeroes and ones (reality is boring, please let us build our own, but then locate it in the same old fashioned metaphors of rooms, houses, cities, mines). I want to know what is the metaphor that reflects the movement of our mind (I think it might be a cloud).

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