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uh---if you take that image as a way of transposing the present into the future (you know, take the way folk interact as you understand it now and shift it forward in time) i'm not sure that you'd want to like in the foreground. look at the fucking pipes.
this would be a pathological space. social relation would be mirror images of what you'd find in the city, but without the functionality.
the windmill would probably be an ornament.
folk in the city could walk to the edge and look out over the vast plain of their own waste and think "what happy peasants there are."
but these happy peasants would be living in a space defined entirely by the waste flows from a huge city.
the city is just a bunch of verticals. you don't know anything at all about it.
except that it was designed with the assumption that it's somehow ok to simply dump water and waste outside its immediate borders and just leave it there. i expect then that you'd find alot of television-viewers in the city--self-absorbed people living in some fantasy that the machine they move through is a "city on a hill."
i'd rather live outside the painting altogether.
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a gramophone its corrugated trumpet silver handle
spinning dog. such faithfulness it hear
it make you sick.
-kamau brathwaite
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