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Shooting Blanks (2025)
Aluminum, LED strip, 35mm film strip, plexiglass.

In Exarchia, a broken shutter produced a transparent roll of film: a mechanical failure during a surreal encounter in which a squad of Athenian riot police posed for the camera, having been convinced by a friend's charming mother.

Following the loss of the photograph, a process was devised to expose a handwritten account of the event directly onto the 35mm strip. This act of ekphrasis substitutes text for light, turning the audience into the camera, forcing the viewer to "develop" the scenario within their own mind. The mental reconstruction likely renders the compliance of the police more absurd than the reality ever was.

Recently exhibited with @hyphastudios.
Curated by Raisa Desypri (@railikeryebread) for @astro___________________. Exhibition concept by Korina Pavlidou @korina_pav.
As always, aforementioned ACAB hat by @fish_encyclopedia.

#conceptualart #35mm #installationart #exarchia #ekphrasis contemporaryart filmphotography

Shooting Blanks (2025)
Aluminum, LED strip, 35mm film strip, plexiglass.

In Exarchia, a broken shutter produced a transparent roll of film: a mechanical failure during a surreal encounter in which a squad of Athenian riot police posed for the camera, having been convinced by a friend's charming mother.

Following the loss of the photograph, a process was devised to expose a handwritten account of the event directly onto the 35mm strip. This act of ekphrasis substitutes text for light, turning the audience into the camera, forcing the viewer to "develop" the scenario within their own mind. The mental reconstruction likely renders the compliance of the police more absurd than the reality ever was.

Recently exhibited with @hyphastudios.
Curated by Raisa Desypri (@railikeryebread) for @astro___________________. Exhibition concept by Korina Pavlidou @korina_pav.
As always, aforementioned ACAB hat by @fish_encyclopedia.

#conceptualart #35mm #installationart #exarchia #ekphrasis contemporaryart filmphotography

Shooting Blanks (2025)
Aluminum, LED strip, 35mm film strip, plexiglass.

In Exarchia, a broken shutter produced a transparent roll of film: a mechanical failure during a surreal encounter in which a squad of Athenian riot police posed for the camera, having been convinced by a friend's charming mother.

Following the loss of the photograph, a process was devised to expose a handwritten account of the event directly onto the 35mm strip. This act of ekphrasis substitutes text for light, turning the audience into the camera, forcing the viewer to "develop" the scenario within their own mind. The mental reconstruction likely renders the compliance of the police more absurd than the reality ever was.

Recently exhibited with @hyphastudios.
Curated by Raisa Desypri (@railikeryebread) for @astro___________________. Exhibition concept by Korina Pavlidou @korina_pav.
As always, aforementioned ACAB hat by @fish_encyclopedia.

#conceptualart #35mm #installationart #exarchia #ekphrasis contemporaryart filmphotography

Shooting Blanks (2025)
Aluminum, LED strip, 35mm film strip, plexiglass.

In Exarchia, a broken shutter produced a transparent roll of film: a mechanical failure during a surreal encounter in which a squad of Athenian riot police posed for the camera, having been convinced by a friend's charming mother.

Following the loss of the photograph, a process was devised to expose a handwritten account of the event directly onto the 35mm strip. This act of ekphrasis substitutes text for light, turning the audience into the camera, forcing the viewer to "develop" the scenario within their own mind. The mental reconstruction likely renders the compliance of the police more absurd than the reality ever was.

Recently exhibited with @hyphastudios.
Curated by Raisa Desypri (@railikeryebread) for @astro___________________. Exhibition concept by Korina Pavlidou @korina_pav.
As always, aforementioned ACAB hat by @fish_encyclopedia.

#conceptualart #35mm #installationart #exarchia #ekphrasis contemporaryart filmphotography

In putting this reel together we highlight just some of the lovely and creative humans who playfully came through our doors to learn something new. <3

Dear creative humans in Berlin, last chance to join our 14-week semester new media art evening program in Berlin! Enjoy three months of studio workspace, make friends with generous and lovely humans, receive mentorship, project support and get hands-on with interactive electronics, 3D printing, projection mapping, or servers, self-hosted networks, LLMs, radio communication and more.

Come make something weird and wonderful. Deadline to join is 26. January. School of Machines After Hours program begins February 3.

Our program is in english. For more info and to enroll:
https://www.schoolofma.org/programs/p/early2026-after-hours

#art #tech #design #critical #engineering #altuniversity #alteducation #handson #toolkit #hardware #software #servers #networks #computervision #hacking #llms #collaboration #school #semester #afterhours #IRL #berlin #schoolofma

Fake news. Fake engagement. Algorithms pretending to be neutral while controlling what we see. Corporate platforms pretending to connect us while monetizing our disconnection and loneliness.

Alternative education offers something different: a space to learn and build your own tools from the ground up, while questioning the systems we're told to trust.

Because if we've reached the bottom of what humanity can be (and by all appearances we have), the only direction left is up. And going up means learning together, building together, questioning together. Come join us!

School of Machines After Hours. 14 weeks. February - May 2026.
Creative Coding & Electronic Mischief (Tuesdays)
Homegrown Tools & Self-Hosted Infrastructure (Thursdays)

Early fees end 2. January.

https://www.schoolofma.org/programs/p/early2026-after-hours

#art #tech #design #critical #engineering #altuniversity #alteducation #handson #toolkit #hardware #software #servers #networks #computervision #hacking #llms #collaboration #school #semester #afterhours #IRL #berlin #schoolofma

Fake news. Fake engagement. Algorithms pretending to be neutral while controlling what we see. Corporate platforms pretending to connect us while monetizing our disconnection and loneliness.

Alternative education offers something different: a space to learn and build your own tools from the ground up, while questioning the systems we're told to trust.

Because if we've reached the bottom of what humanity can be (and by all appearances we have), the only direction left is up. And going up means learning together, building together, questioning together. Come join us!

School of Machines After Hours. 14 weeks. February - May 2026.
Creative Coding & Electronic Mischief (Tuesdays)
Homegrown Tools & Self-Hosted Infrastructure (Thursdays)

Early fees end 2. January.

https://www.schoolofma.org/programs/p/early2026-after-hours

#art #tech #design #critical #engineering #altuniversity #alteducation #handson #toolkit #hardware #software #servers #networks #computervision #hacking #llms #collaboration #school #semester #afterhours #IRL #berlin #schoolofma

Fake news. Fake engagement. Algorithms pretending to be neutral while controlling what we see. Corporate platforms pretending to connect us while monetizing our disconnection and loneliness.

Alternative education offers something different: a space to learn and build your own tools from the ground up, while questioning the systems we're told to trust.

Because if we've reached the bottom of what humanity can be (and by all appearances we have), the only direction left is up. And going up means learning together, building together, questioning together. Come join us!

School of Machines After Hours. 14 weeks. February - May 2026.
Creative Coding & Electronic Mischief (Tuesdays)
Homegrown Tools & Self-Hosted Infrastructure (Thursdays)

Early fees end 2. January.

https://www.schoolofma.org/programs/p/early2026-after-hours

#art #tech #design #critical #engineering #altuniversity #alteducation #handson #toolkit #hardware #software #servers #networks #computervision #hacking #llms #collaboration #school #semester #afterhours #IRL #berlin #schoolofma

Fake news. Fake engagement. Algorithms pretending to be neutral while controlling what we see. Corporate platforms pretending to connect us while monetizing our disconnection and loneliness.

Alternative education offers something different: a space to learn and build your own tools from the ground up, while questioning the systems we're told to trust.

Because if we've reached the bottom of what humanity can be (and by all appearances we have), the only direction left is up. And going up means learning together, building together, questioning together. Come join us!

School of Machines After Hours. 14 weeks. February - May 2026.
Creative Coding & Electronic Mischief (Tuesdays)
Homegrown Tools & Self-Hosted Infrastructure (Thursdays)

Early fees end 2. January.

https://www.schoolofma.org/programs/p/early2026-after-hours

#art #tech #design #critical #engineering #altuniversity #alteducation #handson #toolkit #hardware #software #servers #networks #computervision #hacking #llms #collaboration #school #semester #afterhours #IRL #berlin #schoolofma

If you could take a hands-on semester long course to critically engage with technology while building out your own creative toolkit for the future, what tools would you like in your toolbox?

We're currently planning our upcoming 12-week semester program and would love your input! Let us know: what skills and toolsets are you currently struggling with or super interested in acquiring?

DMs welcome!

#art #tech #design #critical #engineering #antiuniversity #alteducation #handson #toolkit #hardware #software #servers #networks #computervision #hacking #llms #collaboration #schoolofma #afterhours #IRL #berlin

‘Why don’t the cops fight each other?’ is a desktop documentary about attempting to hack GTA V to make police officers fight one another in order to turn police violence back on itself. Through forensic analysis of code and conversations with modders, the work discovers that while almost everything in this detailed urban simulation can be modified, familiar power structures persist even in spaces built to subvert them.
Grayson Earle
@prismspecs
USA/Germany

This video will be presented this Sunday 31 August in Berlín ⭐ for our edition “There is no cloud: there is always someone else’s computer” at @spore.initiative ! (｡˃ ᵕ˂ )｡˃ ᵕ˂ )⸝♡

‘Why don’t the cops fight each other?’ is a desktop documentary about attempting to hack GTA V to make police officers fight one another in order to turn police violence back on itself. Through forensic analysis of code and conversations with modders, the work discovers that while almost everything in this detailed urban simulation can be modified, familiar power structures persist even in spaces built to subvert them.
Grayson Earle
@prismspecs
USA/Germany

This video will be presented this Sunday 31 August in Berlín ⭐ for our edition “There is no cloud: there is always someone else’s computer” at @spore.initiative ! (｡˃ ᵕ˂ )｡˃ ᵕ˂ )⸝♡

‘Why don’t the cops fight each other?’ is a desktop documentary about attempting to hack GTA V to make police officers fight one another in order to turn police violence back on itself. Through forensic analysis of code and conversations with modders, the work discovers that while almost everything in this detailed urban simulation can be modified, familiar power structures persist even in spaces built to subvert them.
Grayson Earle
@prismspecs
USA/Germany

This video will be presented this Sunday 31 August in Berlín ⭐ for our edition “There is no cloud: there is always someone else’s computer” at @spore.initiative ! (｡˃ ᵕ˂ )｡˃ ᵕ˂ )⸝♡

‘Why don’t the cops fight each other?’ is a desktop documentary about attempting to hack GTA V to make police officers fight one another in order to turn police violence back on itself. Through forensic analysis of code and conversations with modders, the work discovers that while almost everything in this detailed urban simulation can be modified, familiar power structures persist even in spaces built to subvert them.
Grayson Earle
@prismspecs
USA/Germany

This video will be presented this Sunday 31 August in Berlín ⭐ for our edition “There is no cloud: there is always someone else’s computer” at @spore.initiative ! (｡˃ ᵕ˂ )｡˃ ᵕ˂ )⸝♡

‘Why don’t the cops fight each other?’ is a desktop documentary about attempting to hack GTA V to make police officers fight one another in order to turn police violence back on itself. Through forensic analysis of code and conversations with modders, the work discovers that while almost everything in this detailed urban simulation can be modified, familiar power structures persist even in spaces built to subvert them.
Grayson Earle
@prismspecs
USA/Germany

This video will be presented this Sunday 31 August in Berlín ⭐ for our edition “There is no cloud: there is always someone else’s computer” at @spore.initiative ! (｡˃ ᵕ˂ )｡˃ ᵕ˂ )⸝♡

Over the weekend, Grayson Earle and Johannes Büttner of PROMPT, and Tal Linzen (Associate Professor of Linguistics and Data Science at NYU and research scientist at Google) opened our eyes to new possibilities in AI engagement and encouraged fresh ways of interacting with technology. Together, they offered powerful insight into how humans and machines can collaborate to create reimagined experiences.

We appreciate Kay Matschullat (Artistic Director of MAXlive) and Media Art Xploration (MAXlive) for moderating and collaborating to make this conversation possible!

📸: @matthewgilbertson

Over the weekend, Grayson Earle and Johannes Büttner of PROMPT, and Tal Linzen (Associate Professor of Linguistics and Data Science at NYU and research scientist at Google) opened our eyes to new possibilities in AI engagement and encouraged fresh ways of interacting with technology. Together, they offered powerful insight into how humans and machines can collaborate to create reimagined experiences.

We appreciate Kay Matschullat (Artistic Director of MAXlive) and Media Art Xploration (MAXlive) for moderating and collaborating to make this conversation possible!

📸: @matthewgilbertson

Over the weekend, Grayson Earle and Johannes Büttner of PROMPT, and Tal Linzen (Associate Professor of Linguistics and Data Science at NYU and research scientist at Google) opened our eyes to new possibilities in AI engagement and encouraged fresh ways of interacting with technology. Together, they offered powerful insight into how humans and machines can collaborate to create reimagined experiences.

We appreciate Kay Matschullat (Artistic Director of MAXlive) and Media Art Xploration (MAXlive) for moderating and collaborating to make this conversation possible!

📸: @matthewgilbertson

Over the weekend, Grayson Earle and Johannes Büttner of PROMPT, and Tal Linzen (Associate Professor of Linguistics and Data Science at NYU and research scientist at Google) opened our eyes to new possibilities in AI engagement and encouraged fresh ways of interacting with technology. Together, they offered powerful insight into how humans and machines can collaborate to create reimagined experiences.

We appreciate Kay Matschullat (Artistic Director of MAXlive) and Media Art Xploration (MAXlive) for moderating and collaborating to make this conversation possible!

📸: @matthewgilbertson

We turn to AI for everything these days—answers, advice, even emotional support we cannot get from friends or family. But as AI gets smarter and more personal, have you started to wonder: Who’s really in control? Are we prompting the machine, or is it prompting us?

Join us THIS WEEKEND at the Center for Performance in Brooklyn for a lively and thought-provoking evening to explore these questions and more with creative technologists Grayson Earle, PROMPT, and their AI collaborator, and Tal Linzen, Associate Professor of Linguistics and Data Science at New York University and a research scientist at Google. The trio will give us some insights into their AI-directed film set with audience participation - get ready for Jur A* Itch Park*, a wild, tongue-in-cheek take on a beloved blockbuster.

This conversation is a part of the MAXforum’s Salon Series and will be moderated by Kay Matschullat, Artistic Director of MAXlive. There will also be a small reception following the talk.

These six images are from my recent text, In Defense of Disintegration, published by the BBK in the Resilience Toolkit. Each image represents a successive step of a neural network undergoing disintegration, where I intentionally degrade the model's weights and biases to disrupt its capacity to synthesize coherent images. Starting with structured landscapes, the outputs progressively break down into abstract color fields, challenging the coherence imposed by machine learning systems. This process of decay exposes the fragility of these systems, inviting new interpretations and resisting the fixed realities they attempt to create.

These six images are from my recent text, In Defense of Disintegration, published by the BBK in the Resilience Toolkit. Each image represents a successive step of a neural network undergoing disintegration, where I intentionally degrade the model's weights and biases to disrupt its capacity to synthesize coherent images. Starting with structured landscapes, the outputs progressively break down into abstract color fields, challenging the coherence imposed by machine learning systems. This process of decay exposes the fragility of these systems, inviting new interpretations and resisting the fixed realities they attempt to create.

These six images are from my recent text, In Defense of Disintegration, published by the BBK in the Resilience Toolkit. Each image represents a successive step of a neural network undergoing disintegration, where I intentionally degrade the model's weights and biases to disrupt its capacity to synthesize coherent images. Starting with structured landscapes, the outputs progressively break down into abstract color fields, challenging the coherence imposed by machine learning systems. This process of decay exposes the fragility of these systems, inviting new interpretations and resisting the fixed realities they attempt to create.

These six images are from my recent text, In Defense of Disintegration, published by the BBK in the Resilience Toolkit. Each image represents a successive step of a neural network undergoing disintegration, where I intentionally degrade the model's weights and biases to disrupt its capacity to synthesize coherent images. Starting with structured landscapes, the outputs progressively break down into abstract color fields, challenging the coherence imposed by machine learning systems. This process of decay exposes the fragility of these systems, inviting new interpretations and resisting the fixed realities they attempt to create.

These six images are from my recent text, In Defense of Disintegration, published by the BBK in the Resilience Toolkit. Each image represents a successive step of a neural network undergoing disintegration, where I intentionally degrade the model's weights and biases to disrupt its capacity to synthesize coherent images. Starting with structured landscapes, the outputs progressively break down into abstract color fields, challenging the coherence imposed by machine learning systems. This process of decay exposes the fragility of these systems, inviting new interpretations and resisting the fixed realities they attempt to create.

These six images are from my recent text, In Defense of Disintegration, published by the BBK in the Resilience Toolkit. Each image represents a successive step of a neural network undergoing disintegration, where I intentionally degrade the model's weights and biases to disrupt its capacity to synthesize coherent images. Starting with structured landscapes, the outputs progressively break down into abstract color fields, challenging the coherence imposed by machine learning systems. This process of decay exposes the fragility of these systems, inviting new interpretations and resisting the fixed realities they attempt to create.

These six images are from my recent text, In Defense of Disintegration, published by the BBK in the Resilience Toolkit. Each image represents a successive step of a neural network undergoing disintegration, where I intentionally degrade the model's weights and biases to disrupt its capacity to synthesize coherent images. Starting with structured landscapes, the outputs progressively break down into abstract color fields, challenging the coherence imposed by machine learning systems. This process of decay exposes the fragility of these systems, inviting new interpretations and resisting the fixed realities they attempt to create.

"Amazon Box Returned with a Recording Device Inside" (2024)

In this project, I purchased and hacked a phone from Amazon to record audio during its return journey to the warehouse. Custom-built software on the phone transmitted audio throughout the 52-hour journey, documenting its passage through trucks, warehouses, and the hands of workers at various distribution centers. While the recordings mostly captured the ambient sounds of conveyor belts and idling engines, they also included snippets of worker conversations. I see this as an act of trespass—an intervention into Amazon's otherwise private logistics network. Along with the audio it recorded, the GPS data serves as a valuable resource for anti-Amazon organizing, transforming the hidden flow of goods into a mappable system.

This brief clip showcases the package moving through a warehouse on its route to Dortmund, Germany.

This piece was exhibited as part of Return to Sender, in collaboration with Charmaine Chua, during ZK/U's No Departures Without Arrivals exhibition for Berlin Art Week 2024.

"Amazon Box Returned with a Recording Device Inside" (2024)

In this project, I purchased and hacked a phone from Amazon to record audio during its return journey to the warehouse. Custom-built software on the phone transmitted audio throughout the 52-hour journey, documenting its passage through trucks, warehouses, and the hands of workers at various distribution centers. While the recordings mostly captured the ambient sounds of conveyor belts and idling engines, they also included snippets of worker conversations. I see this as an act of trespass—an intervention into Amazon's otherwise private logistics network. Along with the audio it recorded, the GPS data serves as a valuable resource for anti-Amazon organizing, transforming the hidden flow of goods into a mappable system.

This brief clip showcases the package moving through a warehouse on its route to Dortmund, Germany.

This piece was exhibited as part of Return to Sender, in collaboration with Charmaine Chua, during ZK/U's No Departures Without Arrivals exhibition for Berlin Art Week 2024.

"Amazon Box Returned with a Recording Device Inside" (2024)

In this project, I purchased and hacked a phone from Amazon to record audio during its return journey to the warehouse. Custom-built software on the phone transmitted audio throughout the 52-hour journey, documenting its passage through trucks, warehouses, and the hands of workers at various distribution centers. While the recordings mostly captured the ambient sounds of conveyor belts and idling engines, they also included snippets of worker conversations. I see this as an act of trespass—an intervention into Amazon's otherwise private logistics network. Along with the audio it recorded, the GPS data serves as a valuable resource for anti-Amazon organizing, transforming the hidden flow of goods into a mappable system.

This brief clip showcases the package moving through a warehouse on its route to Dortmund, Germany.

This piece was exhibited as part of Return to Sender, in collaboration with Charmaine Chua, during ZK/U's No Departures Without Arrivals exhibition for Berlin Art Week 2024.

"Amazon Box Returned with a Recording Device Inside" (2024)

In this project, I purchased and hacked a phone from Amazon to record audio during its return journey to the warehouse. Custom-built software on the phone transmitted audio throughout the 52-hour journey, documenting its passage through trucks, warehouses, and the hands of workers at various distribution centers. While the recordings mostly captured the ambient sounds of conveyor belts and idling engines, they also included snippets of worker conversations. I see this as an act of trespass—an intervention into Amazon's otherwise private logistics network. Along with the audio it recorded, the GPS data serves as a valuable resource for anti-Amazon organizing, transforming the hidden flow of goods into a mappable system.

This brief clip showcases the package moving through a warehouse on its route to Dortmund, Germany.

This piece was exhibited as part of Return to Sender, in collaboration with Charmaine Chua, during ZK/U's No Departures Without Arrivals exhibition for Berlin Art Week 2024.

"Amazon Box Returned with a Recording Device Inside" (2024)

In this project, I purchased and hacked a phone from Amazon to record audio during its return journey to the warehouse. Custom-built software on the phone transmitted audio throughout the 52-hour journey, documenting its passage through trucks, warehouses, and the hands of workers at various distribution centers. While the recordings mostly captured the ambient sounds of conveyor belts and idling engines, they also included snippets of worker conversations. I see this as an act of trespass—an intervention into Amazon's otherwise private logistics network. Along with the audio it recorded, the GPS data serves as a valuable resource for anti-Amazon organizing, transforming the hidden flow of goods into a mappable system.

This brief clip showcases the package moving through a warehouse on its route to Dortmund, Germany.

This piece was exhibited as part of Return to Sender, in collaboration with Charmaine Chua, during ZK/U's No Departures Without Arrivals exhibition for Berlin Art Week 2024.

"Amazon Box Returned with a Recording Device Inside" (2024)

In this project, I purchased and hacked a phone from Amazon to record audio during its return journey to the warehouse. Custom-built software on the phone transmitted audio throughout the 52-hour journey, documenting its passage through trucks, warehouses, and the hands of workers at various distribution centers. While the recordings mostly captured the ambient sounds of conveyor belts and idling engines, they also included snippets of worker conversations. I see this as an act of trespass—an intervention into Amazon's otherwise private logistics network. Along with the audio it recorded, the GPS data serves as a valuable resource for anti-Amazon organizing, transforming the hidden flow of goods into a mappable system.

This brief clip showcases the package moving through a warehouse on its route to Dortmund, Germany.

This piece was exhibited as part of Return to Sender, in collaboration with Charmaine Chua, during ZK/U's No Departures Without Arrivals exhibition for Berlin Art Week 2024.

Roughly 1500 images are created every 2.5 seconds using AI image generators according to a figure published by Forbes. It is impossible to know the real figure, which I assume to be higher. To make this video I scraped images generated this morning using MidJourney, which is reported to account for approximately 25% of all AI image generation. Discord image scraping code is available on my GitHub (use it at your own risk).

For what it's worth this is totally unedited

For what it's worth this is totally unedited

AFW (me, Shobun Baile, Miranda Samuels) featured in this incisive book Queer Exhibition Histories for our work around the Guggenheim unionization initiative.

AFW (me, Shobun Baile, Miranda Samuels) featured in this incisive book Queer Exhibition Histories for our work around the Guggenheim unionization initiative.

AFW (me, Shobun Baile, Miranda Samuels) featured in this incisive book Queer Exhibition Histories for our work around the Guggenheim unionization initiative.

AFW (me, Shobun Baile, Miranda Samuels) featured in this incisive book Queer Exhibition Histories for our work around the Guggenheim unionization initiative.