Creepy Portraits of Deep Fake A.I People: “This Algorithm Exists”

RND/ to consider conceptually creepy art portraits of non-existent people computer generated by evil near-future graphics card manufacturers using advanced neural networks & machine learning

3840×3840, 2.8MB .jpg edited in Gimp, generated via

– To note however, that such people are not in fact people but algorithms, and that unlike pseudo-people do in fact exist and express real identity – that is, an often dangerous sociopolitical efficacy

And yet, one should be wary of taking such emergent / stuck on mathematical smiles at face value (minor tumorous outgrowths and weird skin folds notwithstanding) because right now ‘they’ are probably working in strict tandem with large faceless metacorps to silently and efficiently fuck you over in various, blandly terrifyingly-smart ways

Have a nice day; it’s your duty

// how to play big science

The World’s Most Expensive Digital-Conceptual Artwork: “Pricing The Capitalist Concept Of Worth” ($63.7M)

RND/ given that apparently everything in the known Capitalist universe comes with a price tag (rational, materialist quantification), freelance amateur postmodern internet theorist Robert What now also prices the hyperreal Capitalist concept of “Worth”

This conceptual art scenario is symbolized through the following painterly ode to Jean-Paul Riopelle (which, along with everything else on this website is free as in Cost / Libre: No Licence, No Copyright)

Pricing The Capitalist Concept of Worth ($63.7M) – small

Robert-What-Digital-Conceptual-Art-Pricing-The-Capitalist-Concept-Of-Worth-($63.7M) (large version 7680×11520, 55.1MB)

The notion of “Cost” he currently puts at US$63.7 Million – an absurdist calculation based on two numeric factors:

  1. $63.7 Billion: The growth of the Global Capitalist Art Market
  2. 0.1%: The percentage of those who have boosted their wealth by as much as the world’s poorest half

Extremely Rich Patrons wishing to demonstrate this idea of”Pricing the notion of Cost” and symbolically ‘purchase’ the Capitalist Art Word’s most expensive conceptual artwork, please contact robertwhat [at sitename dot com] today to (for example) help set up some kind of visionary Art Collective Tech Startup

In other words, the problem with accelerationism as a political strategy has to do with the fact that—like it or not—we are all accelerationists now. It has become increasingly clear that crises and contradictions do not lead to the demise of capitalism. Rather, they actually work to promote and advance capitalism, by providing it with its fuel. Crises do not endanger the capitalist order; rather, they are occasions for the dramas of “creative destruction” by means of which, phoenix-like, capitalism repeatedly renews itself. We are all caught within this loop. And accelerationism in philosophy or political economy offers us, at best, an exacerbated awareness of how we are trapped
– Steven Shaviro, No Speed Limit: Three Essays on Accelerationism

// how to play big science

Apex Legends: Current King of Generic Videogame Art Styles

RND/ to consider the current height / king of generic art styles (style of no-style?) evident in F2P battle royale multiplayer videogame “Apex Legends”

Somehow simultaneously professional (technically accomplished, ‘polished’) and amazingly run-of-the-mill, Apex Legends signifies a new old breed of forgettable, mish-mash art styles and all but interchangeable pseudo-characters


– Full series of digital remix paintings at

Who makes such only semi-creative design decisions? What on earth was the focus group demographic? What possible kinds of narrative does such a middling art style suggest? Something vaguely lo-fi, possibly post-apocalyptic sci-fi with the faintest dash of zany – Titanfall-lite X Borderlands 2 ÷ Blacklight: Retribution, perhaps?

// how to play big science

Digital Art Diptych: “Suburb”

RND/ to consider a mildly apocalyptic digital art Diptych entitled “Suburb”

5999×5334, 16.2MB edited in Gimp

Digital Art Diptych “Suburb”

few of us now recall that perilous summer. what began as a game, a harmless pastime, quickly took a turn toward the serious and obsessive, which none of us tried to resist. after all, we were young. we were fourteen and fifteen, scornful of childhood, remote from the world of stern and ludicrous adults. we were bored, we were restless, we longed to be seized by any whim or passion and follow it to the farthest reaches of our natures. we wanted to live—to die—to burst into flame—to be transformed into angels or explosions. only the mundane offended us, as if we secretly feared it was our destiny. by late afternoon our muscles ached, our eyelids grew heavy with obscure desires. and so we dreamed and did nothing, for what was there to do, played ping-pong and went to the beach, loafed in backyards, slept late into the morning—and always we craved adventures so extreme we could never imagine them.

in the long dusks of summer we walked the suburban streets through scents of maple and cut grass, waiting for something to happen.

the game began innocently and spread like a dark rumor.

– dangerous laughter by steven millhauser

// how to play big science