“In order to fuck with profit, you have to understand your own role in the circulation of capital. You have to confront how profit is produced. In this way, sabotage reveals where value comes from: the worker.”
Sam Lavigne, framing his artworks as “digital self-sabotage,” necessary for political action. Projects like Slow Hot Computer (2016), The Good Life (2017), and, more recently, Zoom Escaper (2021) create ‘friction’ in order to “reveal the politics and power structures inherent in the systems that mediate our lives.”

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