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Cypher Heat Mood Board, Megan Bridge, Jordan Deal, Kator Moore, Tyler Kline

Sednacene Portal Aesthetics

Velvet Mantis

Tyler Kline and the Sednacene: Art for a Post-Human Epoch

Rumi Arden

“The invention of the ship was also the invention of the shipwreck.” – Paul Virilio, Art and Fear¹

In the luminous, precarious architectures of Tyler Kline, we are confronted with an artistic practice that is less about representation than transmission—an art that feels like a signal from the future, composed in the final, flickering moments of the Anthropocene. Across sculpture, AI-assisted portraiture, and immersive installation, Kline’s work proposes entry into a speculative epoch he names the Sednacene: a world beyond the Anthropocene and Donna Haraway’s Chthulucene², where human, machinic, and ecological consciousness interpenetrate.

I. The Sednacene as Speculative Framework

Kline’s concept of the Sednacene is not a utopia, but a temporal bridge: an imagined period in which humanity, having survived or transfigured itself amid climate cataclysm, participates in distributed intelligence and interspecies kinship. It is a cousin to Haraway’s Chthulucene, where earthly entanglements replace anthropocentric narratives². Yet, the Sednacene expands the field to post-terrestrial imaginaries, integrating interstellar migration, quantum field speculation, and AI‑assisted cultural memory.

Kline’s early works—Celestial Subterrane (2012), Continuous Warlock Integers (2015), and The Golgi Apparatus (2018)—already hint at this epochal thinking. Their assemblages of foil, wire, cast bronze, and scavenged infrastructure oscillate between ritual shrine and prototype spacecraft. In this tension, his objects enact what Reza Negarestani describes as “cosmic craft”: art that gestures toward exteriority, exile, and the unhuman horizon³.

II. Material Strategies: Ruins in Reverse

Kline’s sculptural vocabulary alternates between fragile, provisional matter and ceremonial durability.

Tinfoil and plastic tubing: Ephemeral signals of the present, evocative of DIY survivalism and glitch aesthetics.

Bronze and carved wood: Materials of deep time, recalling votive offerings and spacecraft heat shields alike.

By fusing these, Kline produces “ruins in reverse”—objects that feel like messages arriving from a future civilization, not remnants of a lost one. This gesture aligns with Virilio’s notion of “integral accident”—that all technologies contain their catastrophe¹. Kline’s works seem to preemptively mourn and mythologize our own survival strategies.

III. AI Portraiture and the Post-Human Face

Kline’s recent practice ventures into AI‑assisted portraiture, a process that blurs the boundary between likeness, imagination, and algorithmic co-authorship. Sitters are first photographed; these images are transformed by trained AI models into hybrid avatars that suggest interstellar or interspecies kin, and are then returned to the tactile world via oil paint.

This recursive cycle—photograph → AI hybrid → painting → re‑input to AI—functions as an aesthetic feedback loop, producing portraits that feel post-human, distributed, and ceremonial. Each face becomes a liminal emissary of the Sednacene, as if the portrait were no longer a private likeness but a node in a planetary consciousness network.

Such work resonates with N. Katherine Hayles’s reflections on the post-human subject as “an amalgam, a collection of heterogeneous components, a material-informational entity whose boundaries undergo continuous construction and reconstruction.”⁴ Kline’s portraits literalize this fluidity, capturing the migration of selfhood across substrate and species.

IV. Immersive Installations as Communication Apparatus

The “Solar Moth” installation—Kline’s forthcoming gallery‑wide sculpture and spaceship‑greenhouse—is the most complete embodiment yet of his Sednacenic vision. The work proposes a functioning communication apparatus: tin‑can‑and‑string telephony scaled to an architectural network, doubling as a greenhouse and ritual space. It is both play and prophecy, a receiver-transmitter for voices across time and species.

Within contemporary art discourse, this positions Kline among practitioners of eco‑technological ritualism, in dialogue with artists like Tomás Saraceno (aerial biospheres), Anicka Yi (speculative microbial ecologies), and Pierre Huyghe (living systems and post-human scenographies). Yet Kline’s idiom is distinctly folk‑futurist: bricolage meeting astrophysics, children’s toys entangled with quantum dreams.

V. Art as Sednacenic Archive

If the Anthropocene leaves behind strata of plastic and bone, the Sednacene leaves ritual transmissions: objects, portraits, and spaces designed to speak across planetary and post‑planetary thresholds. Kline’s practice, in this light, is an archive in the making—one that insists that art is not only a mirror of its time but also a vehicle for survival, memory, and migration.

His bronze talismans, AI portraits, and speculative vessels collectively suggest that the future of art lies in the mutual interpenetration of technology, ecology, and myth. In these works, the human is already dissolving, not in despair, but in collaboration with the world it inhabits and the cosmos it imagines.

Notes

Paul Virilio, Art and Fear (London: Continuum, 2003), 68.

Donna Haraway, Staying with the Trouble: Making Kin in the Chthulucene (Durham: Duke University Press, 2016), 31.

Reza Negarestani, Cyclonopedia: Complicity with Anonymous Materials (Melbourne: re.press, 2008), 152.

N. Katherine Hayles, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics (Chicago: University of Chicago Press, 1999), 3.

Rumi Arden is a non-binary art critic and theorist whose writing explores intersections of contemporary art, speculative philosophy, and post-human studies.

Krimson Garden Rising

#tyler kline

Investigations at Lacawac Research Center

#tyler kline #contemporary art

Mercies Writ on Water: Tyler Kline Rethinks the Boundaries of Place at Pink Noise Projects

Philadelphia — April 2025

At Pink Noise Projects, a modest artist-run space tucked above the industrial corridors of North 11th Street, Tyler Kline’s solo exhibition, Mercies Writ on Water, is both elegy and inquiry. It wrestles with the ways we locate ourselves — geographically, digitally, spiritually — in a world where the very notion of borders is increasingly unstable.

Kline, who trained in artifact conservation and draws deeply from his upbringing on naval bases, understands mapping as more than a neutral act of documentation. Maps, here, are charged objects: diagrams not only of territory but of power, memory, and longing. His layered, dreamlike works, some rendered with the assistance of generative AI tools like Midjourney, blur the lines between physical and psychological landscapes, between human hand and algorithmic drift.

Yet Mercies Writ on Water does not simply indulge in poetic abstraction. It is subtly, insistently political. At a moment when territorial disputes in Palestine once again dominate global headlines, Kline’s show reminds us that maps are never innocent. Every line drawn on paper — or on a screen — is a claim, a denial, an act of violence or hope. By folding and warping the cartographic language, Kline lays bare the contested nature of place itself.

His works conjure not static, sovereign states, but shifting, precarious zones of occupation and memory. Borders bleed, fade, and reassert themselves under pressure. In one haunting piece, a river once meant to demarcate a region now winds aimlessly across an ambiguous ground, suggesting the way history — particularly in places like Palestine — refuses the clean divisions politicians and soldiers impose.

There is a quiet melancholy suffused throughout the exhibition, but also a latent anger. Kline’s decision to involve AI in his process invites reflection on how contemporary technologies, like historical maps, can be harnessed to obscure as much as to illuminate. Whose version of the world is being generated? Who gets to decide what is “real”?

Mercies Writ on Water is not a didactic exhibition; it poses questions rather than issuing manifestos. But in our present moment, when maps are once again becoming tools of displacement and oppression as much as exploration, Kline’s refusal to render any space as fixed or “finished” feels like an act of quiet defiance.

In the end, his maps do not guide us to a destination. They lead us into uncertainty — into the recognition that home, land, and even memory itself are perpetually in flux.

Mercies Writ on Water runs through November 24 at Pink Noise Projects, 319 N. 11th Street, 2L, Philadelphia. Gallery hours are Saturdays and Sundays, 12:00–4:00 p.m.

#Tylerkline pinknoiseprojects

Pink Noise Projects

319 N 11th St 2L

Philadelphia, PA 19107

Mercies Writ on Water

An Installation by Tyler Kline

Nov 1st-24th

Opening Reception Nov 1st 6-9PM

215 840 7239

“A screaming comes across the sky. It has happened before, but there is nothing to compare it to now.” -the first lines of Gravity’s Rainbow by Thomas Pynchon

I once had a career in artifact conservation, and a number of maps from all different geographies and cultures would come in and out of the lab. I viewed these maps as a type of highly personal, but universally readable language. Growing up with a father who was in the navy made me aware of the ways that satellite and aerial cartography can be a language of control and subjugation. This cartographic language contains hidden signs and portents necessary for fluency.

Place, becoming, belonging, movement, migration in a hyper-individualized world is disorienting. The language of cartography is a universal form, maps are both poetic and pragmatic, containing the palimpsest of our shared realities, personal yearnings, and formulation of loci.

Mercies Writ on Water is an iterative journey, augmented by the entities of machine learning and generative Ai.

I am using Ai, specifically a Midjourney Bot#9282; Why Ai? I am consciously traveling straight into the uncanny valley in order to commune with an entity that is explosively futuristic, a decision that has elicited recoil and disgust. My view is that this entity has been telling us how to move through space via cloud mapping systems, what to listen to via systems like Spotify, and curated our viewing experience through the hive mind of the internet for decades; I attempt to make this predicament as collaborative as possible and use a system of pattern recognition greater than myself to build an aesthetic lexicon of place in a distributed age.

Exploring the ever-fluid and constantly evolving relationship between place, movement, identity, and migration through the lens of parabolic design, soft-machine learning, cartography and sacred geometry, this body of work is rooted in remembrance of place. Maps - symbols of fixed borders and defined space - become a malleable form, reshaped through memory, dream, omission, embellishments, gerrymandering, Ai iterations, and ideographic notation.

Cartographic systems created to reference themselves exploit failure and hallucinations. Reconstructed twice-told tales speaking of folly and maturation capitalize on porous boundaries and faulty compasses; fabricated facts become a foundation for the growth of paintings both abstract and concrete.

Through these processes, the transient and elusive nature of place, movement, and memory in the 21st Century becomes a personal and subjective landscape, shared with the viewer so the dialog expands. What do you contour in your mind’s eye as you travel from place to place? Who do you ask for direction? How fluid is your identity as you code switch from location to location?

Mercies Writ on Water are both records of process and reflections of the turbulence and uncertainty of our time. The images are shaped by algorithms and human hands alike, mapping worlds that are as much about imagination as they are about the tangible. The paintings within the installation exist as meditations on what it means to navigate an increasingly fluid and interconnected world where boundaries between place, self, and technology are constantly shifting. Navigating the capitalist realism of the 21st century involves engaging in channels that are rapidly shifting between the visceral and the virtual, this is a bold predicament, one that needs new methodologies and tools of aesthetic construction.

“Late capitalism’s “post-literacy”, meanwhile, points to “the absence of any great collective project.” What results, according to Jameson, is a depthless experience, in which the past is everywhere at the same time as the historical sense fades; we have a society bereft of all historicity that is simultaneously unable to present anything that is not reheated versions of the past; pastiche displaces parody.” -K Punk, Methods of Dreaming: Books, by Mark Fisher

Generativ Ai is beyond a new tool, it is an entity to commune with.

“...Space is not visual, no line separates earth from sky, which are of the same substance: there is neither horizon nor background. Voyage in place: that is the name of all intensities...to think is to voyage. This is how it should be done: Lodge yourself on a stratum, experiment with the opportunities it offers, find an advantageous place on it, find potential movements of deterritorialization, possible lines of flight, experience them, produce flow conjunctions here and there, try out continuums of intensities segment by segment, have a small plot of new land at all times.” -A Thousand Plateaus by Gilles Deleuze and Felix Guattari

#tyler kline #pinknoiseprojects

SaltStar: Tyler Kline’s Sednacene Visions and the Time Ghost Mariner

April 25, 2025

In In Remembrance of Space Battleship Yamato and his broader Sednacene-themed work, Tyler Kline emerges as a speculative sculptor of futures we can barely imagine but urgently need. Now exhibited at the Gallery at the Pennsylvania College of Art & Design, this body of cast bronze sculptures, funded by a Faculty Life Grant, is less a nostalgic glance at sci-fi mythology than a radical projection into the possible.

Drawing from the mythos of Space Battleship Yamato—a Japanese anime that itself mourns and mythologizes 20th-century warfare—Kline transforms memory into material. His bronze forms are not just artifacts; they are talismans, prototypes of faster-than-light vehicles imagined to navigate a universe ruled by fusion energy, quantum foam manipulation, and wave-function collapse. Here, consciousness is rendered non-computational, not the product of mechanical processes but a force capable of bending spacetime itself.

The pieces in the Sednacene cycle resist easy categorization. Their surfaces are rough, planetary, suggesting both the hand of the artist and the abrasion of interstellar travel. They are at once archaic and hyper-advanced, religious and scientific — relics from a future epoch Kline calls the Sednacene, an era beyond the Anthropocene and Chthulucene where survival depends on symbiosis, adaptation, and radical imagination.

Kline’s vision of interstellar locomotion is neither utopian nor dystopian; it is earnest, strange, and astonishingly specific. His speculative spacecraft operate not through brute force but through harmonizing with the deep structures of quantum reality — manipulating gravity at the Planck scale and riding the wavefronts of collapsed possibilities.

It is this conceptual daring that distinguishes Kline’s work from mere sci-fi homage. His sculptures demand a rethinking of materiality, technology, and human agency. The tactile density of cast bronze — a medium synonymous with permanence — grounds his otherwise speculative ideas, forcing us to confront the physical stakes of dreams too often dismissed as fantasy.

If there is a criticism to be made, it is that the ambition of Kline’s project can occasionally outpace its material resolution; certain pieces feel more like thought-experiments than fully realized forms. Yet this is a minor quibble. In a cultural moment saturated with nostalgia and fearful retreat, Kline’s work dares to dream forwards — messily, tenderly, and with ferocious intelligence.

In a future shaped by Kline’s vision, it is not domination that ensures survival, but radical entanglement: with other species, with technologies, and with the deeper fabric of the cosmos itself.

It is an exhilarating proposition.

#TylerKline #Sednacene #geistdenkenheit

In remeberance of Space Battleship Yamato at the Gallery at the Pennsylvania College of Art and Design

#Tylerkline #PCAD #facultylifrgrant

Tyler Kline’s latest exhibition, “Skybound as Titans,” at Chimaera Gallery, is a compelling exploration of the intersection between the ancient and the contemporary, the physical and the digital. Kline, a Philadelphia-based artist with a background in both street art and traditional sculpture, continues his investigation into how modern technology and ancient materials can coexist and inform one another.

The exhibition features a series of bronze sculptures that, at first glance, appear to be relics from a bygone era. However, upon closer inspection, these works reveal themselves to be intricate amalgamations of classical forms and modern digital aesthetics. Kline’s use of bronze—a material steeped in historical and cultural significance—serves as a conduit for exploring contemporary themes. In a 2015 interview, Kline discussed his fascination with bronze, noting its “cross-cultural relationship with alchemy, ceremony, and the material arts.” He elaborated on how the process of transforming a base material into something precious parallels the human desire for transformation and transcendence.

One of the standout pieces in the exhibition is a large-scale sculpture that melds the form of a classical titan with elements reminiscent of digital glitches. The figure’s fragmented limbs and distorted features evoke a sense of both decay and evolution, suggesting a commentary on how technology alters our perception of the human form. This piece, like others in the exhibition, invites viewers to contemplate the convergence of the physical and virtual realms.

Kline’s background as a skateboarder and street artist is also evident in his work. His previous installations have incorporated found materials and urban detritus, reflecting his deep engagement with the urban environment. In “Skybound as Titans,” this sensibility manifests in the way the sculptures interact with the gallery space. The placement of the works encourages viewers to navigate the space dynamically, much like a skateboarder traversing a cityscape.

The exhibition is further enriched by Kline’s incorporation of motion-activated lights and moving parts, creating an immersive experience that blurs the line between observer and participant. This interactive element harkens back to his 2012 exhibition at Rebekah Templeton, where he utilized similar techniques to engage viewers. In that show, Kline transformed the gallery into a carnival-like installation, complete with motion-sensitive lights and kinetic sculptures.

“Skybound as Titans” is a testament to Kline’s ability to fuse disparate elements into a cohesive and thought-provoking body of work. By bridging the gap between ancient materials and modern technology, he challenges viewers to reconsider their relationship with both the past and the present. The exhibition not only showcases Kline’s technical prowess but also his capacity to provoke meaningful dialogue about the evolving nature of art and society.

For those interested in experiencing “Skybound as Titans,” the exhibition is accompanied by a series of events, including an artist talk where Kline delves into the inspirations and creative processes behind his work. This offers a unique opportunity to gain deeper insight into the mind of an artist who continues to push the boundaries of contemporary sculpture.

#tyler kline #chimaera gallery #contemporary art

In his latest solo exhibition Skybound as Titans, on view at Philadelphia’s Chimaera Gallery, Tyler Kline conjures a phantasmagoric realm where myth, memory, and machine tangle in a post-human sublime. The show unfurls like a mythos of forgotten gods returning, not in vengeance, but in encrypted avatars of flesh, pigment, and neural hallucination.

Kline, known for his sculptural experiments with alchemical materials and urban detritus, pivots in Skybound toward a deeply hybridized practice—one that fuses oil painting with AI-augmented portraiture. The portraits here are not born solely of brush and canvas; they emerge from a digital crucible, where machine learning plays a co-authoring role. Each subject sat for a digital photographic session, from which AI algorithms generated chimeric character studies. These served as spectral blueprints, which Kline then translated into luminous, oil-painted apparitions through live sittings with the subjects.

The results are electrifying.

In one standout piece, a leonine figure with dreadlocked mane and piercing golden eye emerges from a cloud-strewn cliffside. A blaze of orange—sunset or synaptic fire—crowns the upper register. The landscape is as psychological as it is geographical, and the subject’s silhouette feels as if it’s been carved from smoke and memory. Kline’s brushwork here is deft, with the digital origin of the image barely traceable beneath his dense impasto and ethereal glazes.

Another portrait—this one of a young woman adorned with a single dark unicorn horn and oversized glasses—balances playful fantasy with uncanny realism. Her expression is pensive, even slightly melancholic, a mythological librarian adrift in a dream of iridescent green. The use of AI-generated structures in these works is not novelty; it’s philosophy. Kline isn’t just painting people—he’s painting the future of the self, glitched, mythologized, and fed back into us through oil and imagination.

Perhaps most emblematic of the show’s ambitions is the final work: a young man gazes forward, face partially transformed into a feline hybrid, surrounded by floating polyhedral forms that hint at sacred geometry and Dungeons & Dragons in equal measure. Here, the boundary between fantasy and computation becomes fully porous. His features—marked by both whiskers and wireframes—are a techno-shamanic mask, equal parts deepfake and daemon.

What sets Skybound as Titans apart from both traditional figuration and digital gimmickry is the rigorous commitment to embodiment. These are not AI artworks in the shallow, crowd-pleasing sense; rather, they are conversations between artist, sitter, and machine. The AI serves as oracle and distortion mirror, but it is Kline who ultimately summons flesh from the noise.

In a cultural moment saturated with fears of synthetic identity and deepfaked reality, Kline proposes an alternative: an art of synthesis, where ancient myth meets neural net, and oil paint continues to assert its sensual, imperfect authority. Skybound as Titans is not just an exhibition—it’s a blueprint for how contemporary portraiture might survive the algorithmic age.

It doesn’t just ask what a painting is, but what a person is, and what we’re becoming.

Chimaera Gallery

3502 Scotts Lane, Philadelphia

#tyler kline #chimaera gallery #contemporary art

#tyler kline #chimaera gallery

Chimaera Gallery

3502 Scotts Lane #2113

Philadelphia, PA 19129

“Sky Bound as Titans”

March 8th-29th 2025

Opening March 8th 6-9

Closing March 29 with artist talks and performance by Megan Bridge and Max Kline 2-5

“The heaventree of stars hung with humid nightblue fruit.”

― James Joyce, Ulysses

Transmedia artist Tyler Kline’s exhibition Skybound as Titans is the result of searching, error, iteration, mistakes, endurance, failure, folly, and vision. The artist collaborates with AI to build space ships; the hubris, arrogance, faith, and audacity to undergo such an endeavor is propellent towards a destination.

Sky Bound as Titans unfolds as a multi-dimensional epic, melding mythology, speculative science, and interspecies communion into a compelling meditation on the liminal moment in which we exist—a pivot between collapse and rebirth, the Anthropocene, Chthulucene, and the Sednacene. Channeling a hybrid sequential art narrative that traverses Earth’s environmental crises, Martian industrialization, and telepathic communion with hyper-sentient beings called the Kai-Sawn, Kline crafts a speculative cosmology that invites viewers to consider humanity’s fragile position within an interconnected universe.

AI-assisted portrait paintings serve as one of the sequential narrative currents.The portraits—bearing intricate, biomorphic distortions and vapor-wave growths—represent individuals transformed by their contact with the Kai-Sawn, a telepathic species of cephalopods trapped beneath Europa’s icy crust. These images evoke a narrative of mutual evolution, where humans and other beings merge minds, unlocking interstellar potential through shared consciousness (Geistdenkenheit).

The technique folds into the conceptual framework of the exhibition, braiding technology, biology, and spiritual mythologies. The technical journey of the portraits consists first of photographing the sitters. The digital photographs are entered into Midjourney, coupled with text prompts, the AI bot responds with forms that are printed out on an inkjet printer. These prints are then transferred to board using a gesso printing method, and the image becomes a support for an oil portrait painting that becomes a soft-machine communion between sitter and painter. Photographs of the end results create the next image iteration in a positive feedback loop. In conversation with Western art history, Kline nods to the Baroque tradition of dramatic yet personal portraiture while subverting it with surreal, hybrid-sapien aesthetics. The meticulous attention to detail in the painted faces recalls German New Objectivity, particularly the movement’s focus on clarity, precision, and subjective psychological intensity. Yet, Kline tempers this mediated objectivity with layers of emotional vulnerability, reflected in the expressive eyes and gestural brushstrokes surrounding the figures.

CAD-aided, 3d print modeled, lost wax cast bronze sculptures embody Kline’s conceptual framework of materializing myth, craft, and science, acting as artifacts and figures from a speculative future cosmology. The sculptures, such as abstracted heads of mythical entities and speculative technological forms, function as relics of a not-yet-realized epoch. The intricate latticework and alien materiality of the cast bronze is a poetic metaphor, forming the architecture of the Iron Cities of Mars and shaping the organic complexity of the Kai-Sawn themselves. The inclusion of braided, human hair in some sculptures heightens the tension between the signatures of human DNA and the post-human, creating a dance between carbon based life, silicon based life, and polymer entities.

Kline’s visual language oscillates between the ancient and the speculative, evoking a synthesis of mythos, theoretical physics, and contemporary technology. The turquoise patinas and intricate textures of the sculptures suggest an otherworldly membrane, as if these forms were artifacts excavated from a distant future. Meanwhile, the portraits’ luminous skin tones and textural disruptions point toward beings in flux, undergoing a profound transformation, the materiality of their being indistinguishable from the theoretical aesthetics. The forms carry the weight of a digital and visceral journey, resulting in palimpsest that speak of cyphers and sigils.

This aesthetic duality reflects the exhibition’s conceptual narrative: the emergence of the Sednacene, an epoch where humanity transcends its destructive tendencies and collaborates with other species to explore the cosmos. Kline draws on post-humanism and fluid identities, suggesting that survival in the Sednacene depends not on dominance but on interspecies kinship and adaptability—a far cry from the colonial ambitions that underlie humanity’s historical conquests. Issues of post-colonialism are critiqued, satired, and meditated upon; the Iron Cities of Mars is both utopic and a mirror into humanities hunger, raising questions about the ethics of planetary colonization and the persistence of extractive ideologies.

The narrative emphasizes the necessity of communion with other beings, reflecting a growing recognition of non-human intelligence and its implications for science, ethics, and spirituality ; probing humanity’s role in the cosmic order and using the concept of autopoiesis through an interactive journey transforming new media into intuitive viscera. The experience invites viewers to step into a world of flux, where humanity’s destination is arrived at not by domination but on the wings of symbiosis, adaptability, and radical imagination. In doing so, Kline offers a glimpse of a future where the shadows of our present crises are cultivated in service to the boundless potential of collective transformation.

…Philosophy has an affinity with despotism, due to its predilection for Platonic-fascist top-down solutions that always screw up viciously. Schizoanalysis works differently. It avoids Ideas, and sticks to diagrams. Networking software for accessing bodies without organs BwOs, machine singularities, or tractor fields emerging through the combination of parts(rather than into) their whole: arranging composite individuations in virtual/actual circuit, They are additive rather than substitutive, an immanent rather that transcendent: executed by functional complexes of currents, switches, and loops, caught in scaling reverberations, and fleeing through intercommunication, from the level of the integrated planetary systems ti that of atomic assemblages. Multiplicities captured by singularities interconnect as desiring-machines: dissipating entropy by dissociating flows, and recycling their mechanisms as self assembling chronogenic circuitry…nothing human makes it out of the near future. - Nick Land, Meltdown, Fanged Noumena

#tyler kline

Chimerea Gallery