XENOVISUALS

XENOVISUALS has taken hold of me.

XENOVISUALS revolves around the creation of visual media by machine, where the very lack of human intentionality becomes the central artistic statement. In this form, the blurring, melding, and nonsensicality of details — and thus the lack of their importance — is the entire point of the details. The lack of focus, and the machine-like simplicity of the composition is the entire point of the composition. The randomness of the composition and the speed of its production are not flaws to be hidden but are instead the core of the work. The fact that XENOVISUALS was created without direct human artistic intervention or care is not something to be concealed behind a rubberized flesh mask stretched over the Terminator skull of the machine, attempting to pass as human art or photography. Instead, that lack of human touch is the message.

The melting and shifting of details, the insanity and nonsensicality of the art, and the absence of intentionality in the composition and what it’s trying to convey is, in fact, the intention. The art is not trying to fool you; it is leaning into the alienation of something as fundamentally human as art. It is revealing the horror of a deterritorialization of what was once considered the most human possible endeavor, which has now been merged with mechanic processes. This embraces the acceleration of technology and its infiltration into all parts of our lives, finding something new, alien, and interesting in that process. It refuses to play the capitalist game of pretending this is the same old art, nor does it attempt the hopeless task of resisting the technological shift. One is trying to fool you, the other is foolish. This is neither.

Another crucial aspect of this project is the exclusive use of purely local and open-weight models. This is a deliberate choice to make clear through the mode of antiartistic production itself the deterritorialization, not just of art, but of capital's own control over technology into the hands of the individual. It leans into and accelerates, while also highlighting, the impossibility of the state or society truly controlling this technology and the further deterritorializations and hyperrealities that result. The process will involve using software that grants me intense control over the parameters and inputs to the machine, yet no control over what the machine actually does with them.

The final step will be the application of a specific set of filters I have created in GIMP. These filters are designed to accentuate the low-resolution, pixelated nature of the images, highlighting the chaotic highlights and shadows of the scene. This final touch will further emphasize the non-human origin of the work, underscoring the fact that it was generated on and by a computer.

The first series will directly attempt to depict this process through meltdown-mechanic XENOLANDSCAPES.