Nels Abbey

The key thing I think that we'll probably witness is, since we can't print more work, and everything has to be protected and preserved, and of course, as authorities would normally tend to do, I wouldn't be shocked if a mechanism emerged in which we actually

had to control what people were allowed to read and what they were not allowed to read.

So I find that the more we are looking towards this dystopian future, it looks a hell of a lot more like the past than we probably bargained for.

Yeah.

But I think when you're speaking of the elderly people there, you're also speaking about local knowledge.

There might be a subset of people who are deemed to be knowledgeable, deemed to have the requisite wisdom and understanding of things and can convey it orally, as has been done in the past.

And I think that that sort of localism is a good thing.

Does that ability for human beings actually go back to learning directly from each other, as opposed to accepting that we have five writers per year, we think that these are the people you must know and read, as opposed to actually even

No, learning from different people from different places.

A hundred years from now, without writers, I think that you'll have an art scene that is very localised.

Once upon a time in the 80s, if you go to different areas, if you use America, for example, you went to Ohio, there was a particular sound with music coming from Ohio, a particular sound of music that came from, say, Jersey.

And that sound, that art, actually was a reflection of the life in that area.

But now, with the advent of technology, where everybody's seeing what everybody's doing, it became a lot more monolithic.

And I think that return to diversity or localism could actually really benefit the art scene a lot more.

I do love the arts.

I do think that placing the artist back on the pedestal and actually making art a lot more mainstream, a practice for everybody in humanity, there's some elements of benefits.