The Cathedral of Light perfectly illustrates the forward-looking issues raised by the cultural and social phenomena that dominated the 1990s. It analyses technoculture from an insider perspective. By developing a unique cosmology, it draws attention to the other kinds of existence brought about by the technological revolution, in which it predicts non-human actors moving in cyberspace. Homo digitalis is a multiple state in which multiple personalities are embodied in reality and virtuality. Through the author's associative style of writing, his utopia is drawn, in which the exploitive triangle of state, multinational corporations and the individual is disrupted by hackers and self-organising autonomous zones, with the weapon of poetic terrorism. In the post-modern book's Nanotopia, looping references link everything to everything else, anticipating from 2001 the expansion of digital life to our everyday communicative, economic and entertainment activities.
Our desperate attempts to carve out small,
distinct corners for ourselves within it are hopeless.
The works of art no longer give themselves up to immanent analysis:
music cannot be derived from music,
literature from literature
and film from film.
We roam endlessly in hypertexts.
No link points to itself.
And to make things even crazier, our texts no longer refer to reality but to virtualities.
Ferenc Kömlődi
The Gates of Heaven – A Decade of Electronic Music
(Mennyek kapui – Az elektronikus zene évtizede), 2009
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