Lauren: How would you describe the unfolding apocalyptic nature of the photography?
Moby: So much of it has to do with the human relationship to both the human condition and the world in which we live.
I feel like the last few thousand years has been this amazing time of human technological progress and a consideration of what is called neurological progress. But we were still like scared monkeys. So we still respond to the world as if it's this very dark, threatening place because it was. But now what makes the world dark and threatening is us.
We lived in this scary, scary environment and so we developed this almost like pre-cognitive fear response. But we still have it. But we own the world. So, we're afraid of us now.
Ninety-nine percent of the problems that humans have to deal with are problems that humans have created. So we've put all this pressure on ourselves and on the world, and the cracking that results from this pressure is what I call the apocalypse. It's like a transformation, a transition from an age of stupid to an age of sanity.
Where we just suddenly recognize the way we're living, the way we're comporting ourselves, our relationship to each other and to ourselves, to our own thoughts, to the world in which we live – just doesn't make sense anymore. To me, that's the apocalyptic transition.
Because apocalypse, etymologically, in ancient Greek, just means revelation. It just means, like, turning on the light in the dark room. I guess Plato, to an extent, talked about this. He had this one story about humans living in a cave. And there is a fire in the cave until all they see are shadows. And so their relationship is to the shadows. And then, at some point in progress and evolution, they leave the cave and see things as they really are. And that's my hope – that is the evolution of our species.