Digital Painting: Memes Aren’t Facts

RND/ to imagine a digital art panting of the once popular, seemingly self-aware / non-ironically pseudo-paradoxical “Memes Aren’t Facts” internet meme

2446×3137, 2.4MB edited in Gimp

“Memes Aren’t Facts”

Small side note to non scientific fact-based communities: please inoculate your kids immediately; stop spreading the disease of idiocy

Idiocy is not a disease but a condition in which the intellectual facilities are never manifested or have never been developed sufficiently to enable the idiot to acquire such amount of knowledge as persons of his own age reared in similar circumstances are capable of receiving
– Jean-Étienne Dominique Esquirol

Example Reference Links

  1. NY Times: How to Inoculate Against Anti-Vaxxers
  2. The Conversation: Why do you make stupid decisions when the experts tell you otherwise?
  3. Scientific American: Who Are You Calling Anti-Science?
  4. Live Science: Evolution, Climate and Vaccines: Why Americans Deny Science
  5. Willam M. Briggs: Why Memes Are Stupid: The Short Version

// 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

Perfectly Professional, Utterly Uninspiring Instagram Style ‘White People’ Photography

RND/ consider a parody study of sociopathically bland, utterly Instagrammatic White People style photography (‘whitography’?)

3840×2560 .jpg, images via Unsplash

No. You got it wrong. It’s not about sounding all nasal. It’s about sounding like you don’t have a care. Like your bills are paid and you’re happy about your future and you’re about to jump in your Ferrari when you get off this call. Put some extra breath in there. Breezy, like you don’t need this money, like you never been fired, only laid off.
– Langston, Sorry To Bother You (2018, Director Boots Riley)

– In which a series of metaphysical poses direct from zone psychic-zero plays out in oh-so predictable manner, never once challenging precious long held unconscious assumptions, a soulless, frothy decaf life set in untouched marble where only fake dirt and minor scratches and other deliberate ‘retro-filter’ flaws flaws exist to keep it all P.C – a hermetically sealed image bubble of five star international holidays in the warm faded and lightly grainy sun, where nice new kicks, and simply delicious pseudo-spontaneous recipe ideas are forever lightly tossed online for / as effortless, mass corporate vampiric consumption; perfectly professional and cosmically uninspiring

// how to play big science