MachineMachine /stream - search for space en-us LifePress <![CDATA[WHY I WANT TO FUCK ELON MUSK]]>

A text written for IOCOSE‘s exhibition “All of Your Base” held at Aksioma Project Space in Ljubljana, 1 December 2021–14 January 2022.

Published as a PostScriptUM PDF and print-on-demand publication.


In their space race the gurus of the NewSpace movement are expanding an imaginary that hybridizes individualism, libertarianism, neoliberal economics, counterculture and utopianism. “Why I Want to Fuck Elon Musk” plays with these cultural references, taking inspiration from the most emblematic statements spoken or tweeted by Elon Musk in recent years. Daniel Rourke, a London-based writer, artist and academic, has resorted to working with the OpenAI Generative Pre-trained Transformer 3 (GPT-3) language model to imagine and narrate chronicles from a near future in which blockchains have materialized and the deepfakes of Bezos and Musk have colonized Mars. The fictional universe thus created by human and non-human imagination builds a literary counterpart to IOCOSE’s latest works – the video animations Pointing at a New Planet (2020) and Free from History (2021) – presented on the occasion of the “All of Your Base” exhibition at Aksioma | Project Space in Ljubljana.

Download PDF (eBROCHURE) View on Aksioma website

Fri, 26 Nov 2021 02:06:04 -0800
<![CDATA[A Declaration of the Interdependence of Cyberspace]]>


Thu, 25 Nov 2021 02:51:21 -0800
<![CDATA[Media Fields Journal - Lithium Landscapes]]>

Figure 1. Satellite image of the Salar de Atacama. (Source and copyright: USGS) From space, the lithium fields of the Salar de Atacama in Chile appear like a multi-colored mosaic or plots of agricultural lands arranged in grids.

Thu, 08 Jul 2021 23:55:23 -0700
<![CDATA[The Changing Ontology of the Image | The Nordic Journal of Aesthetics]]>

Traditionally we think of images as relatively individualized or delimited phenomena that, in one way or the other, appear to the human mind and apparatus of perception. Currently, however, we are witnessing an intensification of what we might call thenetworkedness of the image along with a proliferation of machine imagery that operates independently of human perception and cognition. These “operative images” are, in Harun Farocki’s oft-cited formulation, “images without a social goal, not for edification, not for reflection”—they “do not represent an object, but rather are part of an operation.” In fact, one might claim that one of the characteristics of the contemporary image-space is its increasing integration of operational images and machine vision.

Sun, 04 Jul 2021 22:36:39 -0700
<![CDATA[Impossible Images and the Latent Image space]]>

Lecture for Arts at MIT Unfolding intelligence program :

Sat, 03 Apr 2021 08:42:22 -0700
<![CDATA[Ask MeFi: Can we escape viruses?]]>

When we eventually develop spaceships that travel between the stars, will new viruses still plague the travelers?

Sun, 01 Nov 2020 22:43:19 -0800
<![CDATA[Inside the surprisingly dark world of Rube Goldberg machines | The Verge]]>

On the eve of the 2015 Rube Goldberg Machine Contest college nationals, six teams gather in Columbus, Ohio’s Center of Science and Industry children’s museum to set up their machines around the walls of the hangar-like space and eye up the competition.

Tue, 30 Jun 2020 10:13:40 -0700
<![CDATA[Inside the surprisingly dark world of Rube Goldberg machines | The Verge]]>

On the eve of the 2015 Rube Goldberg Machine Contest college nationals, six teams gather in Columbus, Ohio’s Center of Science and Industry children’s museum to set up their machines around the walls of the hangar-like space and eye up the competition.

Wed, 03 Jun 2020 11:50:20 -0700
<![CDATA[We are entering a space that can only be accessed via non-digital means]]> ]]> Sat, 14 Mar 2020 05:40:38 -0700 <![CDATA[A New Clue to the Origins of Life - The Atlantic]]>

When Caitlin Cornell looked down her microscope, she saw large bright spots against a black background. They resembled miniature suns, blazing against the backdrop of space.

Wed, 14 Aug 2019 17:17:21 -0700
<![CDATA[Elon Musk argues that we must put a million people on Mars if we are to ensure that humanity has a future]]>

‘Fuck Earth!’ Elon Musk said to me, laughing. ‘Who cares about Earth?’ We were sitting in his cubicle, in the front corner of a large open-plan office at SpaceX headquarters in Los Angeles. It was a sunny afternoon, a Thursday, one of three designated weekdays Musk spends at SpaceX.

Sat, 10 Aug 2019 13:20:50 -0700
<![CDATA[PhD Thesis: The Practice of Posthumanism]]>

Post-humanism is best understood as several overlapping and interrelated fields coming out of the traditions of anti-humanism, post-colonialism, and feminist discourse. But the term remains contested, both by those who wish to overturn, or even destroy, the ‘humanism’ after that decisive hyphen (post-humanists), and those engaged in the project of maximising their chance of merging with technologies, and reaching a supposed point of transition, when the current ‘human’ has been augmented, upgraded, and surpassed (transhumanists). For both those who wish to move beyond ‘humanism’, and those who wish to transcend ‘the human’, there remains a significant, shared, problem: the supposed originary separations, between information and matter, culture and nature, mankind and machine, singular and plural, that post-humanism seeks to problematise, and transhumanism often problematically ignores, lead to the delineation of ‘the human’ as a single, universalised figure. This universalism erases the pattern of difference, which post-humanists see as both the solution to, and the problem of, the human paradigm. This thesis recognises this problem as an ongoing one, and one which – for those who seek to establish posthumanism as a critical field of enquiry – can never be claimed to be finally overcome, lest the same problem of universalism rear its head again.

To tackle this problem, this thesis also enters into the complex liminal space where the terms ‘human’ and ‘humanism’ confuse and interrupt one another, but rather than delineate the same boundaries (as transhumanists have done), or lay claim over certain territories of the discourse (as post-humanists have done), this thesis implicates itself, myself, and yourself in the relational becoming posthuman of which we, and it, are co-constituted. My claim being, that critical posthumanism must be the action it infers onto the world of which it is not only part, but in mutual co-constitution with.The Practice of Posthumanism claims that critical posthumanism must be enacted in practice, and stages itself as an example of that process, through a hybrid theoretical and practice-based becoming. It argues that posthumanism is necessarily a vibrant, lively process being undergone, and as such, that it cannot be narrativized or referred to discursively without collapsing that process back into a static, universalised delineation once again. It must remain in practice, and as such, this thesis enacts the process of which it itself is a principle paradigm.After establishing the critical field termed ‘posthumanism’ through analyses of associated discourses such as humanism and transhumanism, each of the four written chapters and hybrid conclusion/portfolio of work is enacted through a ‘figure’ which speaks to certain monstrous dilemmas posed by thinkers of the posthuman. These five figures are: The Phantom Zone, Crusoe’s Island, The Thing, The Collapse of The Hoard, and The 3D Printer (#Additivism). Each figure – echoing Donna Haraway – ‘resets the stage for possible pasts and futures’ by calling into question the fictional/theoretical ground upon which it is predicated. Considered together, the dissertation and conclusion/portfolio of work, position critical posthumanism as a hybrid ‘other’, my claim being that only through representing the human as and through an ongoing process (ontogenesis rather than ontology) can posthumanism re-conceptualise the ‘norms’ deeply embedded within the fields it confronts.The practice of critical posthumanism this thesis undertakes is inherently a political project, displacing and disrupting the power dynamics which are co-opted in the hierarchical structuring of individuals within ‘society’, of categories within ‘nature’, of differences which are universalised in the name of the ‘human’, as well as the ways in which theory delineates itself into rigid fields of study. By confounding articulations of the human in fiction, theory, science, media, and art, this practice in practice enacts its own ongoing, ontogenetic becoming; the continual changing of itself, necessary to avoid a collapse into new absolutes and universals.

Thu, 08 Aug 2019 05:56:23 -0700
<![CDATA[What is your favorite story-breaking glitch or exploit?]]>

Explanation: I'm an academic researching glitches in videogames, and what fascinates me most is how glitches—often ones discovered by speedrunners, though not always ones that speed up runs—completely destroy the stories the games are trying to tell. Characters get chopped and changed, plot sequences get broken, settings get demolished, even space and time get bent around the exploits and accidents of the game's programming going wrong. Some examples: 1) Using the FF6 "airship glitch", you can break sequence to do things like moving from the World of Ruin back to the World of Balance, making Terra become her own father, or taking General Leo to visit his own grave. 2) In the Pokemon Reverse Badge Order runs, the player essentially warps space and time to pull the various gym leaders to him, beat them soundly, and then dismiss them again. That's no longer the story of a young hero on a personal-development quest, it's now about a young god screwing with people. 3) Stretching the definition of glitch a bit, but I think definitely not something intended by the developers: the Any% for Two Worlds where the main villain is killed within the game's first two minutes by aggro'ed townsfolk and the game takes that as its cue to end. Glad to clarify further but that should give the general gist of it. I'd love to know your own favorite examples of stories getting broken. (And if I end up using it anywhere in the book or articles I'm writing, I'll be sure to cite you there.) submitted by /u/epikt to r/speedrun [link] [comments]

Thu, 18 Jul 2019 06:21:47 -0700
<![CDATA[MeFi: A Monstrous Psychedelic Bubble Exploding In Your Mind]]>

Need some psychedelic music getaway, a blend of old and new, long mixes with separate themes? Back in 2008, Amorphous Androgynous / Future Sound of London decided to make the ultimate mixtape. A Monstrous Psychedelic Bubble Exploding In Your Mind Volume 1: Cosmic Space Music is a 2h40m journey across a varied sonic landscape engineered for your enjoyment.

Fri, 31 May 2019 22:35:42 -0700
<![CDATA[Bezos Reveals His Ugly Vision For The World He’s Trying To Rule – Caitlin Johnstone]]>

“Guess what the best planet is in this solar system?” asked Amazon CEO Jeff Bezos at a recent media event on his Blue Origin space program. “It’s easy to know the answer to that question,” he continued. “We’ve sent robotic probes like this one to all of the planets in our solar system.

Mon, 27 May 2019 17:28:07 -0700
<![CDATA[All I want, every day, is to find a derelict spaceship, develop abnormal symptoms & then tell no one.]]> ]]> Tue, 16 Apr 2019 10:09:38 -0700 <![CDATA[Walk&Talk; - Arts Festival 2018]]>

(pt) Walk&Talk fala da ilha, fala de um lugar e de um momento que questiona noções de centro e de periferia, amplia as geografias do mundo e as histórias da arte. Uma vídeo-conversa entre pessoas que multiplicam as formas de habitar a ilha, sobre a nossa natureza, o poder de criar e os ritmos do tempo.

(en) Walk&Talk speaks from the island, speaks from a place and moment that questions notions of centre and of periphery, expands the geographies of the world and the histories of the art. A video-conversation between people who multiply the ways of inhabiting the island, about our nature, the power of creating and the pace of time.

/ Realização/Direction - Bernardo Bordalo, Rui Nó | Montagem/Editing - Bernardo Bordalo | Cinematografia/Cinematography - Cláudio Oliveira | Banda Sonora/Sound Track - Cláudio Oliveira | Sonoplastia/Sound Design - Claudio Oliveira | Tradução/Translation Luisa Cativo

Comissariado/Commissioned by Walk&Talk - Arts Festival Direção Artística/Artistic Direction Jesse James & Sofia Carolina Botelho

/ Ana Trincão - André Uerba - Alessandro Bartolazzo - António Torres – Casabranca - Camposaz - Caroline David - Cristóvão Ferreira - Conan Osiris - Dani Admiss - Daniel Rourke + Luiza Prado - Diana Vidrascu – Diogo Alvim - Elliot Sheedy - Filipe Pereira - Gustavo Ciríaco com/with Ana Trincão, Rodrigo Andreolli, Sara Zita Correia & Tiago Barbosa - Gonçalo Preto - Henrique Ferreira - João Mourão & Luis Silva - Kurt Woerpel - Lígia Soares - Lúcia Moniz - Luísa Salvador - Manuela Marques - Margarida Andrade - Maurícia Barreira Neves - Maya Saravia - Mezzo Atelier, Joana Oliveira & Giacomo Mezzadri - Michel Charlot - Miguel Flor - Miguel Damião - Mónica de Miranda - Nora Al-Badri + Nikolai Nelles - Pauliana Valente Pimentel - Pedro Penim com/with Bernardo de Lacerda & Frederico Serpa - Polliana Dalla Barba - Sascha Pohflepp & Chris Woebken - Shift Register, Jamie Allen & Martin Howse - Rodrigo Andreolli - Sara Zita Correia - Sofia Caetano - Teresa Silva - Tiago Barbosa - Tim Lahan - ThugUnicorn – UVA - Voyager - We Came from Space

Thu, 28 Mar 2019 09:40:15 -0700
<![CDATA[TIMELAPSE OF THE FUTURE: A Journey to the End of Time (4K)]]>

Support my work on Patreon: | Get the soundtrack: | How's it all gonna end? This experience takes us on a journey to the end of time, trillions of years into the future, to discover what the fate of our planet and our universe may ultimately be.

We start in 2019 and travel exponentially through time, witnessing the future of Earth, the death of the sun, the end of all stars, proton decay, zombie galaxies, possible future civilizations, exploding black holes, the effects of dark energy, alternate universes, the final fate of the cosmos - to name a few.

This is a picture of the future as painted by modern science - a picture that will surely evolve over time as we dig for more clues to how our story will unfold. Much of the science is very recent - and new puzzle pieces are still waiting to be found.

To me, this overhead view of time gives a profound perspective - that we are living inside the hot flash of the Big Bang, the perfect moment to soak in the sights and sounds of a universe in its glory days, before it all fades away. Although the end will eventually come, we have a practical infinity of time to play with if we play our cards right. The future may look bleak, but we have enormous potential as a species.

Featuring the voices of David Attenborough, Craig Childs, Brian Cox, Neil deGrasse Tyson, Michelle Thaller, Lawrence Krauss, Michio Kaku, Mike Rowe, Phil Plait, Janna Levin, Stephen Hawking, Sean Carroll, Alex Filippenko, and Martin Rees.

Big thanks to Protocol Labs for their support of this creation:

And to my Patreon supporters: Juan Benet, Kalexan, Laine Boswell, Holly, Dave & Debbie Boswell, Abraxas, Alina Sigaeva, Aksel Tjønn, Daniel Saltzman, Crystal, Eico Neumann, geekiskhan, Giulia Carrozzino, Hannah Murphy, Jeremy Kerwin, JousterL, Lars Støttrup Nielsen, Leonard van Vliet, Mitchel Mattera, Nathan Paskett, Patrick Cullen, Randall Bollig, Roman Shishkin, Silas Rech, Stefan Stettner, The Cleaner, Timothy E Plum, Virtual_271, Westin Johnson, Yannic, and Anna & Tyson.

Soundtrack now available: and coming soon to iTunes/Spotify/Etc

Additional visual material sourced from:

NASA Goddard Google SpaceX 2012 Geostorm Into the Universe with Stephen Hawking BMW X1 Journey to the Edge of the Universe Noah How the Universe Works Deep Impact Wonders of the Universe Moon raker vfx reel

Peace and love,

melodysheep @musicalscience

Wed, 20 Mar 2019 10:15:01 -0700
<![CDATA[Why Cosmic Horror is Hard To Make]]>

In this video we take a look at why Cosmic Horror (or Lovecraftian Horror) is so hard to adapt onto the screen because of its visual complexity and abstraction.

Video essay made by Moises & Sergio Velasquez

------------- Editor's Note:

  • It's not mental patients but someone insane made the drawings.

------------- Follow us on:

Instagram: Twitter:

------------- Music:

The Old Ones by Scott Buckley –

------------- Movie Clips From:

2001: A Space Odyssey (Debatebly has Lovecraftian elements) Alien Annihilation Bird Box Cloverfield Paradox In the Mouth of Madness The Endless The Mist The Thing The Unnamable The Void

Cosmichorror #Movies #Lovecraft

Fri, 25 Jan 2019 08:10:35 -0800
<![CDATA[Was There a Civilization On Earth Before Humans? - The Atlantic]]>

It only took five minutes for Gavin Schmidt to out-speculate me. Schmidt is the director of NASA’s Goddard Institute for Space Studies (a.k.a. GISS) a world-class climate-science facility. One day last year, I came to GISS with a far-out proposal.

Fri, 28 Dec 2018 18:27:14 -0800