Ellen Mara De Wachter: For your Invites show, you have used an old multichannel television set as the starting point for the installation, but it also includes state of the art digital equipment. This has created a particular relationship between analogue and digital. What effects has this produced in the work?
Benedict Drew: I’m really interested in the drive for newness, which has to do with this notion of the technological sublime. Fidelity becomes a kind of event horizon; everything goes towards thinner, brighter, crisper, more real. Redundancy becomes accelerated. There’s an old argument about analogue and digital, which isn’t particularly of interest to me: if I think about my new computer, it has a spinning magnetic disk in it, so inside the computer there is already an analogue device. This endless search for fidelity is about desire, really, which is at the heart of all these issues: the technological sublime, accelerated redundancy. This desire, a weird lust, fuels capital, but it’s a very odd thing and we are all in it.