Deep Strawberry

In the 1971 movie, Harold and Maude, a boy-man sewn into an upper class lineage headed by a satirically tyrannical matriarch stages his own suicide again and again. The first scene depicts his fake self-hanging, “OH HARRROLD!” His mother’s admonishment is delivered with all the horror-shock Harold meant for her, but also cloying authority, the absolute order Harold cannot escape.

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They are fighting for the sovereignty of capital. Warlike adamance, pressurized plunder. Capitalism has always been war, but this sadism is evangelism in the name of their only belief. Fully activated and pushed to its furthest limits, this version ends in pure nihilism: everything is value, therefore, nothing has value. This time, we are inside the machine. The weapon is technological enclosure. Inside this nightless regime, language is code.

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