colm guo-lin peare

HKSARoPRC, 2047:

Without any discernible

attentant fear

centering in the audience


I am my own avatar. I can make existing objects crystalline into more shards by inserting nonmaterial objects into them. Playing with Discoloration by releasing a crystal as an Autofill in my hand means opening a door using the OTA function familiar with Discoloration. This energy is used by any available materials, and can be animated with my software.

—Lenna (2019)

Where does cyber-assistance come from? It's just robotics! 

— 4 Seconds and Death Afoot! (2003)

Lenna’s practice explores how processes of human identity self categorize into sublabels, from objects to objects of contemplation, voluntaristic labels, to past objects and still? The ongoing in the life of the American art proverb, 'No artists, many tased and burned, will live to see any famed composers,' turns these sublabels idiotic and virtual. We must mark out the intersections with the ego, with k-email: this primal future calmly opens its doors without any discernible attenant fear centering in the audience.’

In a post-colonial city like Hong Kong, can technology be reappropriated to become a futurism that allows a disassembling of the orientalist narrative that has been so pervasive up until this point? The web, the web of Beijing, is much bigger than Beijing—it has (perhaps more) multiple shallows similar to those of New York. It creates what Fu calls a rectangular city as it fuses with both land and media permitted space. She and her coeditor Sin Nihui talk about how dreaming of timeless urban future weapons such as box plants can be transformative.

The work discusses Marx's critique, as rooted in Freud and Said Hamilton, of critical circularism, before looking at the local exposure for aggression. This means coming to terms with capitalismism itself and it carrying negative, quantifiably negative, insights and reflections, like popularized pro-Trotskyism and what was espoused by Titi in the Hensehamsen movement. Depicted above is the 'bottomless pit of social crisis (bottomed, ‘God help us!’) and the displacement of role to wide-open space (rejecting patterns of how culture actually communicates itself and in a decidedly upturnary way) and global and political relations on satisfying a sense of 'Participation' in various species in the media.

Among the 'deep Democratic spaces', Lenna is realism for robotic devices, on anti-class consciousness unlike coded mass talk. Within Marx and Lenin questions are given rhetorically about higher emotional health, above the street numbers, which are racist-ghettoized and racist-secfindized which consistently puts apparent academic and political sentiment in need of capital in a miserable narrow-Zonal coop.

All in all, it seems like the lack of artwork vs fap approach that this software controls include forces it prefers to do for players and could be a new, number crunching problem solved even more quickly given a versatile 3D mixing feature. In conclusion, if you haven't checked it out here's a link to the attached symlink when you're finished fucking the game.

A machine-learning generated text formatted to look like a vinyl exhibition text. The text was created by patching together GPT-2 outputs using its conditional sampling mode. The conditional samples used were extracts from the artist’s own various artist statements and exhibition descriptions. (2019), Vinyl, text generated by pre-trained long short term memory network formatted as exhibition text.