PSF: What do you think could be a positive evolutionary change for the human race?
GPO: Well, it depends how attached you are to the human body as a sacred thing. We think of the human body as not sacred. That’s one of the great errors of the old religions, that the human body is the centre of everything. Our personal belief is that the evolution of the species is imminent in another sort of quantum leap and it will be where we finally let go of our romantic idea of the human body or of gender or the species being already perfect, and we use genetic engineering and cosmetic surgery and biological and cyber-organic attachments to completely redesign ourselves according to our wants and our needs and we become a species of infinite variety. So if you want to go into space, you use genes from polar bears to hibernate and maybe add extra arms and get rid of the legs because you’re in a weightless environment. That’s just an example. People have to let go of all their preconceptions of what we’re meant to look like and how we’re meant to function biologically and step into the actual future from our prehistoric state. We’ve let technology develop miraculously but we haven’t bothered to change ourselves. If we change physically, then our way of perceiving things changes and we need to change the way we perceive everything. That’s our dream, but for some people, it would be a nightmare. It’s about whether people are sentimental about the human body or not. People are surprisingly resistant to change.
Genesis P-Orridge Interviewed by Billy Hell for Perfect Sound Forever
Inspired by post-punk, dream pop, and a touch of electronica, the San Francisco-via-New York quintet Film School began as the brainchild of vocalist/guitarist Krayg Burton, who began recording under the Film School name in the late '90s. After releasing the I'm Not Working 7" on Metoo! Records, Burton joined forces with a rotating cast of musicians to make 2001's full-length A Brilliant Career, including members of Fuck and Elephone as well as Pavement and Preston School of Industry's Scott Kannberg