According to the author, auto-correction, street performers, earworms and migration are to be blamed for the inception of this textile. The person who invented auto-correction should go to
hello. This is how he moved to Münster instead of Munich.
The main book’s character and one of the largest inspirations is Rajah Rajasingham who is a street musician. Rajah has sung the single line “Oh my darling” for hours and years in the same
streets of the same Münster. Originally from Sri Lanka he repeats the same line as if it was a mantra or a techno track.
Among the book’s aims was finding a contemporary character who would represent the larger part of the society, the so-called 99 percent. Watching today’s scandal-seeking mass media and
scrolling through rather hysterical social networks, one may easily be reminded of the Greek Chorus in classical Greek theatre. The function of the Chorus is to explain the context and represent society. Thus, it is hybrid, programmed by its antagonistic opinions, as any given society is, but also, as any other multitude, it affects the main character and causes irreversible group dynamics. In today’s society, the Chorus represents and refers to the whole mixed landscape of a/anti/post/sub/super-humans — AI, eco sentient, clones, consumers, migrants, narcissistic capitalists, Nazis, populist politicians, precariat, tax payers, etc. Think of all the people you have ever met, passed by on the street and online.
Where were we? We have the protagonist, we have the Chorus, we have the auto-correction function and virtual assistants to help us write and read this text further.
Meanwhile, the protagonist already has rattles in his hands and is endlessly repeating a single line:

Oh my darling
Oh my darling
Oh my darling
[continues…]

Valentinas' text was conceived during the writer’s residency at Skulptur Projekte Münster 2017 in Germany and published online by The Baltic Notebooks of Anthony Blunt, Vilnius, Lithuania in 2018.

Valentinas Klimašauskas (b.1977, Lithuania) is a curator and writer interested in redistribution of the future. Klimašauskas is a co-curator of the Latvian pavilion (with Inga Lace, artist – Daiga
Grantina) at the forthcoming Venice Biennial. More of his writings may be find at www.selectedletters.lt

With support of Lithuanian Culture Institute