"in The Verge"@en . . "The Persistence of Chaos is a work of art consisting of a laptop that contains six computer viruses, worms, and pieces of malware that have caused major damage. The artwork was created in 2019 by artist and the collective MSCHF, and sold at auction for $1,345,000 in May 2019. Guo O Dong described it as a bestiary for historical malware, and expressed concern about the high price for which it sold, stating that he would either spend the money on another project or burn it."@en . "2019"^^ . "The Persistence of Chaos"@en . . . . . . . . "250"^^ . . "We have this fantasy that things that happen in computers can\u2019t actually affect us, but this is absurd. Weaponized viruses that affect power grids or public infrastructure can cause direct harm."@en . . . . "A laptop on a white background with malware visible on the screen"@en . . . . . . "The Persistence of Chaos in 2019, with WannaCry visible onscreen"@en . . . "62507789"^^ . . . . . . . . "1085339958"^^ . ""@en . . "The Persistence of Chaos"@de . . . . . "The Persistence of Chaos is a work of art consisting of a laptop that contains six computer viruses, worms, and pieces of malware that have caused major damage. The artwork was created in 2019 by artist and the collective MSCHF, and sold at auction for $1,345,000 in May 2019. Guo O Dong described it as a bestiary for historical malware, and expressed concern about the high price for which it sold, stating that he would either spend the money on another project or burn it."@en . . . . . . "Guo O Dong"@en . . "The Persistence of Chaos"@en . "The Persistence of Chaos (Deutsch: Die Beharrlichkeit des Chaos) ist ein Kunstobjekt in Form eines vireninfizierten Laptops des chinesischen K\u00FCnstlers ."@de . . . . . "The Persistence of Chaos"@en . . . . . . . . . . . . . . "8270"^^ . . "The Persistence of Chaos (Deutsch: Die Beharrlichkeit des Chaos) ist ein Kunstobjekt in Form eines vireninfizierten Laptops des chinesischen K\u00FCnstlers ."@de . . . . . "Guo O Dong"@en . . . . "10.3"^^ . . . . . . . . . . .