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CORPTECH ARTIST PREVIEW 5/5: New work premiere by Sadia Quddus (@sadiaaa)

This sneak peek is a collection of the artist’s documented failures. Will she succeed? Will there be anything in the gallery? Will it all end in rubble?

We’re counting down the days until CORPOREAL TECHNOLOGIES, a group exhibit featuring the Design Media Arts MFA 2026 cohort. Opening May 14, New Wight Gallery, LA. Visit corptech.show for more info.

#CorporealTechnologies #CorpTech #DesignMediaArts #DMA #DMA26 #laart

CORPTECH ARTIST PREVIEW 5/5: New work premiere by Sadia Quddus (@sadiaaa)

This sneak peek is a collection of the artist’s documented failures. Will she succeed? Will there be anything in the gallery? Will it all end in rubble?

We’re counting down the days until CORPOREAL TECHNOLOGIES, a group exhibit featuring the Design Media Arts MFA 2026 cohort. Opening May 14, New Wight Gallery, LA. Visit corptech.show for more info.

#CorporealTechnologies #CorpTech #DesignMediaArts #DMA #DMA26 #laart

CORPTECH ARTIST PREVIEW 5/5: New work premiere by Sadia Quddus (@sadiaaa)

This sneak peek is a collection of the artist’s documented failures. Will she succeed? Will there be anything in the gallery? Will it all end in rubble?

We’re counting down the days until CORPOREAL TECHNOLOGIES, a group exhibit featuring the Design Media Arts MFA 2026 cohort. Opening May 14, New Wight Gallery, LA. Visit corptech.show for more info.

#CorporealTechnologies #CorpTech #DesignMediaArts #DMA #DMA26 #laart

CORPTECH ARTIST PREVIEW 5/5: New work premiere by Sadia Quddus (@sadiaaa)

This sneak peek is a collection of the artist’s documented failures. Will she succeed? Will there be anything in the gallery? Will it all end in rubble?

We’re counting down the days until CORPOREAL TECHNOLOGIES, a group exhibit featuring the Design Media Arts MFA 2026 cohort. Opening May 14, New Wight Gallery, LA. Visit corptech.show for more info.

#CorporealTechnologies #CorpTech #DesignMediaArts #DMA #DMA26 #laart

CORPTECH ARTIST PREVIEW 5/5: New work premiere by Sadia Quddus (@sadiaaa)

This sneak peek is a collection of the artist’s documented failures. Will she succeed? Will there be anything in the gallery? Will it all end in rubble?

We’re counting down the days until CORPOREAL TECHNOLOGIES, a group exhibit featuring the Design Media Arts MFA 2026 cohort. Opening May 14, New Wight Gallery, LA. Visit corptech.show for more info.

#CorporealTechnologies #CorpTech #DesignMediaArts #DMA #DMA26 #laart

You are invited to CORPOREAL TECHNOLOGIES, a group exhibit featuring new works by the Design Media Arts MFA 2026 cohort: @chellyjin @Dredgeops @lanxinerr @sadiaaa @sagan.yee

Exhausting itself through the mere act of witness, the body achieves unlikely agency via that selfsame circuitry. Through data stream and surveillance feed, projection map and physics engine, CORPTECH renders our collective body legible to machinic and organic processes alike: operating/operated upon, metabolized/metastasizing, sovereign/laid bare.

🎉Opening Night: Thurs May 14 from 5 to 8 PM
📅Exhibit Run: May 14 to May 28
📍Location: New Wight Gallery, Broad Art Center 240 Charles E Young Drive North Los Angeles, CA 90095-1456

Free and open to the public.
Poster design by @sadiaaa

Follow us:
Instagram: @corp_tech
Website: corptech.show

#CorporealTechnologies #CorpTech #DesignMediaArts #DMA #DMA26 #laart

Sadia Quddus, Mid-Residency Exhibition: THE BODY TRACES

To hide in a culture that values hypervisibility is to disappear, to be removed, to not exist at all. To hide from a surveillance state, however, is to liberate oneself, to escape and evade in opposition.

To excavate oneself from the machinic eye, only the traces of the body visible, is to make one’s evasion aggressive. The redaction of the body is a disruptive camouflage: less of an invisibility cloak and more of a veil that functions as an amulet. Like the Evil Eye, defiant eyes staring back at the apparatus of image capture and asserting, resolutely, a refusal to be known.

OPENING RECEPTION:
April 22, 5:30PM—8:30PM
Broad Art Center, UCLA Campus
Grad Gallery & EDA

The show will be open April 22—April 24, 10AM—5PM Wednesday and 12PM—5PM Thursday and by appointment.

Visitor Parking available in Parking Structures 3 and 5.

“In a post-truth, algorithmic, AI slop-fueled new media landscape, when the once-veracity of visuals can no longer be relied upon, and our consciousness is over-saturated with images of violence, the use of Hind’s recorded voice cuts through our apathy and indifference. This young, plaintive voice pierces through the wash of archival violence that numbs even the most sympathetic audience. This numbness is not one of the heart, but rather one of the eyes. To have been online in the last few years is to have been the recipient of a coordinated barrage of visual overwhelm in the American media landscape.

This media ecosystem flattens the deaths of Palestinians, young and old, into numbers; faceless, nameless, story-less, data to populate a news article. The image of a broken body has simply become a product for consumption, something to be devoured by the merciless calculations of the algorithm that rules our collective attention and focus. Our media landscape survives on the escalation of ever more sensationalized images. We become continuously numb to such extremes, spurring ever more intensifications, a vicious cycle of image-based calculation.”

An excerpt from A Voice, Immortal, an essay written by artist Sadia Quddus for the occasion of tonight’s screening of The Voice of Hind Rajab.

Please visit now-instant.la to read the full text.

The Voice of Hind Rajab
Kaouther Ben Hania
2025, 89m

April 23, 2026. 7pm

939 Chung King Road, Los Angeles, CA 90012

“In a post-truth, algorithmic, AI slop-fueled new media landscape, when the once-veracity of visuals can no longer be relied upon, and our consciousness is over-saturated with images of violence, the use of Hind’s recorded voice cuts through our apathy and indifference. This young, plaintive voice pierces through the wash of archival violence that numbs even the most sympathetic audience. This numbness is not one of the heart, but rather one of the eyes. To have been online in the last few years is to have been the recipient of a coordinated barrage of visual overwhelm in the American media landscape.

This media ecosystem flattens the deaths of Palestinians, young and old, into numbers; faceless, nameless, story-less, data to populate a news article. The image of a broken body has simply become a product for consumption, something to be devoured by the merciless calculations of the algorithm that rules our collective attention and focus. Our media landscape survives on the escalation of ever more sensationalized images. We become continuously numb to such extremes, spurring ever more intensifications, a vicious cycle of image-based calculation.”

An excerpt from A Voice, Immortal, an essay written by artist Sadia Quddus for the occasion of tonight’s screening of The Voice of Hind Rajab.

Please visit now-instant.la to read the full text.

The Voice of Hind Rajab
Kaouther Ben Hania
2025, 89m

April 23, 2026. 7pm

939 Chung King Road, Los Angeles, CA 90012

On Thursday April 23, Willa and Now Instant present The Voice of Hind Rajab, with a pre-taped introduction from director Kaouther Ben Hania. Artist Sadia Quddus will lead a post-screening conversation with the audience. 

This event is co-organized by Sadia Quddus and Mindy Seu.

The Voice of Hind Rajab
 Kaouther Ben Hania
2025, 89m

January 29, 2024. Red Crescent volunteers receive an emergency call. A five-year-old girl is trapped in a car under fire in Gaza, pleading for rescue. As they try to keep her on the line, they do everything they can to get an ambulance to her. Her name was Hind Rajab.

Full program notes, along with a contributed essay by Sadia Quddus, edited by Mila Zuo and Mindy Seu, are available at now-instant.la

April 23, 2026. 7pm

 939 Chung King Road, Los Angeles, CA 90012

Save the date for CORPOREAL TECHNOLOGIES, a group exhibit featuring new works by the Design Media Arts MFA 2026 cohort: Chelly Jin, Dredge Ops, Sadia Quddus, Sagan Yee, and Xiner Lan

Through data stream and surveillance feed, projection map and physics engine, CorpTech renders our collective body legible to machinic and organic processes alike: operating and operated upon, metabolized and metastasizing, sovereign and laid bare.

🎉 Opening Night: Thurs 🕔 May 145 to 8 PM
🗓️ Exhibit Run: May 14 to May 28
📍New Wight Gallery, Broad Art Center
240 Charles E Young Drive North
Los Angeles, CA 90095-1456

#CorporealTechnologies #CorpTech #DesignMediaArts #DMA #DMA26 #laart

A fragmented glimpse into “Istikhara Dream Cycle,” adapted from my generative web installation of the same name for Ancestral Computation, a screening program curated by Mashinka Firunts Hakopian and co-presented by ArteEast and e-flux this evening ✨

Scored by Rachel “Lou” Tandon, who breathed a haunting and emotive atmosphere into my cycle of dreamscapes and troubled yearning for collective guidance in navigating the challenges of our time.

Istikhara Dream Cycle is an endless conversation held between two entities, the Dreamer and the Interpreter of Dreams. Their discourse is formed through a generative language model trained on the English translation of Ibn Sirin’s 7th century oneiric manual, The Interpretation of Dreams. Through a series of questions and answers, the Dreamer poses increasingly challenging and self-implicating questions, seeking guidance to navigate the moral and spiritual complexities of modern life.

From @arteeast & @e_flux : Ancestral Computation assembles works that counter the epistemes of Western technoscience, from across the SWANA region and its diasporic time-spaces. These works call forth ancestral intelligences, inheriting forms of world making surfaced from the lacunae of omissive datasets and archives of dispossession. They traverse algorithmic dream divination; develop tools for upending classificatory protocols; evade technologies of capture; and conjure precolonial deities through radio transmissions. They invoke alternate temporalities, rejecting the consignment of non-Western technologies to the dustbins of media history.

✨ This amazing program brings together so many incredible filmmakers and artists! Grateful for @mashinkahakopian for including me in this lineup ✨ For tickets to the online screening, check link in @arteeast bio ✨

Project assisted, as ever, by Dougal Henken @decreation_studio 💫

A fragmented glimpse into “Istikhara Dream Cycle,” adapted from my generative web installation of the same name for Ancestral Computation, a screening program curated by Mashinka Firunts Hakopian and co-presented by ArteEast and e-flux this evening ✨

Scored by Rachel “Lou” Tandon, who breathed a haunting and emotive atmosphere into my cycle of dreamscapes and troubled yearning for collective guidance in navigating the challenges of our time.

Istikhara Dream Cycle is an endless conversation held between two entities, the Dreamer and the Interpreter of Dreams. Their discourse is formed through a generative language model trained on the English translation of Ibn Sirin’s 7th century oneiric manual, The Interpretation of Dreams. Through a series of questions and answers, the Dreamer poses increasingly challenging and self-implicating questions, seeking guidance to navigate the moral and spiritual complexities of modern life.

From @arteeast & @e_flux : Ancestral Computation assembles works that counter the epistemes of Western technoscience, from across the SWANA region and its diasporic time-spaces. These works call forth ancestral intelligences, inheriting forms of world making surfaced from the lacunae of omissive datasets and archives of dispossession. They traverse algorithmic dream divination; develop tools for upending classificatory protocols; evade technologies of capture; and conjure precolonial deities through radio transmissions. They invoke alternate temporalities, rejecting the consignment of non-Western technologies to the dustbins of media history.

✨ This amazing program brings together so many incredible filmmakers and artists! Grateful for @mashinkahakopian for including me in this lineup ✨ For tickets to the online screening, check link in @arteeast bio ✨

Project assisted, as ever, by Dougal Henken @decreation_studio 💫

A fragmented glimpse into “Istikhara Dream Cycle,” adapted from my generative web installation of the same name for Ancestral Computation, a screening program curated by Mashinka Firunts Hakopian and co-presented by ArteEast and e-flux this evening ✨

Scored by Rachel “Lou” Tandon, who breathed a haunting and emotive atmosphere into my cycle of dreamscapes and troubled yearning for collective guidance in navigating the challenges of our time.

Istikhara Dream Cycle is an endless conversation held between two entities, the Dreamer and the Interpreter of Dreams. Their discourse is formed through a generative language model trained on the English translation of Ibn Sirin’s 7th century oneiric manual, The Interpretation of Dreams. Through a series of questions and answers, the Dreamer poses increasingly challenging and self-implicating questions, seeking guidance to navigate the moral and spiritual complexities of modern life.

From @arteeast & @e_flux : Ancestral Computation assembles works that counter the epistemes of Western technoscience, from across the SWANA region and its diasporic time-spaces. These works call forth ancestral intelligences, inheriting forms of world making surfaced from the lacunae of omissive datasets and archives of dispossession. They traverse algorithmic dream divination; develop tools for upending classificatory protocols; evade technologies of capture; and conjure precolonial deities through radio transmissions. They invoke alternate temporalities, rejecting the consignment of non-Western technologies to the dustbins of media history.

✨ This amazing program brings together so many incredible filmmakers and artists! Grateful for @mashinkahakopian for including me in this lineup ✨ For tickets to the online screening, check link in @arteeast bio ✨

Project assisted, as ever, by Dougal Henken @decreation_studio 💫

A fragmented glimpse into “Istikhara Dream Cycle,” adapted from my generative web installation of the same name for Ancestral Computation, a screening program curated by Mashinka Firunts Hakopian and co-presented by ArteEast and e-flux this evening ✨

Scored by Rachel “Lou” Tandon, who breathed a haunting and emotive atmosphere into my cycle of dreamscapes and troubled yearning for collective guidance in navigating the challenges of our time.

Istikhara Dream Cycle is an endless conversation held between two entities, the Dreamer and the Interpreter of Dreams. Their discourse is formed through a generative language model trained on the English translation of Ibn Sirin’s 7th century oneiric manual, The Interpretation of Dreams. Through a series of questions and answers, the Dreamer poses increasingly challenging and self-implicating questions, seeking guidance to navigate the moral and spiritual complexities of modern life.

From @arteeast & @e_flux : Ancestral Computation assembles works that counter the epistemes of Western technoscience, from across the SWANA region and its diasporic time-spaces. These works call forth ancestral intelligences, inheriting forms of world making surfaced from the lacunae of omissive datasets and archives of dispossession. They traverse algorithmic dream divination; develop tools for upending classificatory protocols; evade technologies of capture; and conjure precolonial deities through radio transmissions. They invoke alternate temporalities, rejecting the consignment of non-Western technologies to the dustbins of media history.

✨ This amazing program brings together so many incredible filmmakers and artists! Grateful for @mashinkahakopian for including me in this lineup ✨ For tickets to the online screening, check link in @arteeast bio ✨

Project assisted, as ever, by Dougal Henken @decreation_studio 💫

A fragmented glimpse into “Istikhara Dream Cycle,” adapted from my generative web installation of the same name for Ancestral Computation, a screening program curated by Mashinka Firunts Hakopian and co-presented by ArteEast and e-flux this evening ✨

Scored by Rachel “Lou” Tandon, who breathed a haunting and emotive atmosphere into my cycle of dreamscapes and troubled yearning for collective guidance in navigating the challenges of our time.

Istikhara Dream Cycle is an endless conversation held between two entities, the Dreamer and the Interpreter of Dreams. Their discourse is formed through a generative language model trained on the English translation of Ibn Sirin’s 7th century oneiric manual, The Interpretation of Dreams. Through a series of questions and answers, the Dreamer poses increasingly challenging and self-implicating questions, seeking guidance to navigate the moral and spiritual complexities of modern life.

From @arteeast & @e_flux : Ancestral Computation assembles works that counter the epistemes of Western technoscience, from across the SWANA region and its diasporic time-spaces. These works call forth ancestral intelligences, inheriting forms of world making surfaced from the lacunae of omissive datasets and archives of dispossession. They traverse algorithmic dream divination; develop tools for upending classificatory protocols; evade technologies of capture; and conjure precolonial deities through radio transmissions. They invoke alternate temporalities, rejecting the consignment of non-Western technologies to the dustbins of media history.

✨ This amazing program brings together so many incredible filmmakers and artists! Grateful for @mashinkahakopian for including me in this lineup ✨ For tickets to the online screening, check link in @arteeast bio ✨

Project assisted, as ever, by Dougal Henken @decreation_studio 💫

Please join us this Thursday at 5pm on October 16th for the Opening Reception of Uncommon Ingress, an MFA Preview show featuring new works by the Design Media Arts 2026 graduate cohort: Chelly Jin, Rowena Kou, Sadia Quddus, Sagan Yee, Stamatis Hamouzas, and Xiner Lan. Free and open to the public, food and drinks provided. See you there!

Eventbright RSVP link: https://www.eventbrite.com/e/department-of-design-media-arts-mfa-fall-preview-exhibition-tickets-1754560911919?aff=oddtdtcreator

You are invited to UNCOMMON INGRESS, an exhibit featuring new works by the Design Media Arts MFA 2026 cohort: Chelly Jin, Rowena Kou, Sadia Quddus, Sagan Yee, Stamatis Hamouzas, and Xiner Lan. Free and open to the public. Food and drinks provided.

To cross a threshold is to forget. You enter a space and wonder: why am I here again? A shift in perception caused by moving from room to room remakes the world anew. Traversal is a form of constant creation. Seek refuge via uncommon ingress, and remember: This is where you come in.

Opening Night: Thurs Oct 16 (5 to 8 PM)
Exhibit Run: Oct 16 to Oct 23, 2025

New Wight Gallery, Broad Art Center
240 Charles E Young Drive North
Los Angeles, CA 90095-1456

Follow us for updates:
Instagram: @subtangled_complex
Website:https://uncommoningress.cargo.site/

Eventbright RSVP link:
https://www.eventbrite.com/e/department-of-design-media-arts-mfa-fall-preview-exhibition-tickets-1754560911919?aff=oddtdtcreator

I’m sharing new work in this very dreamy show this evening with my Supercollider cohort ✨ please come by if you’re free!

🧿🧿🧿

Supercollider x David Horvitz Garden

First Hour: experiments on common ground

Saturday, September 27, 2025 @ 5 - 9pm
David Horvitz’ 7th Ave Garden
1911 7th Ave, Los Angeles, CA 90018

Artists: Aroussiak Gabrielian, Devin Wilson, Ellie Schmidt, Ina Chen, Nat Decker, Patricía Lino, Sadia Quddus, Whisper

Curated By: Marcela Vieira

First Hour: experiments on common ground is an activation in David Horovitz’ 7th Ave Garden by members of Supercollider 2025 SciArt Ambassador Cohort and friends. The space is activated with sculptures, performances, and idiosyncratic interventions—both virtual and real—that simulate fictional scenes governed by unreal logics. It is a situation similar to what we experience when entering a new stage of a video game. As we step into the space we may find ourselves wondering: what is happening here? What is the code, the language, the way to interact with these works? Who are these figures? Since understanding takes time, perhaps we will be left only with impressions, rather than with clear answers to our questions.

I’m sharing new work in this very dreamy show this evening with my Supercollider cohort ✨ please come by if you’re free!

🧿🧿🧿

Supercollider x David Horvitz Garden

First Hour: experiments on common ground

Saturday, September 27, 2025 @ 5 - 9pm
David Horvitz’ 7th Ave Garden
1911 7th Ave, Los Angeles, CA 90018

Artists: Aroussiak Gabrielian, Devin Wilson, Ellie Schmidt, Ina Chen, Nat Decker, Patricía Lino, Sadia Quddus, Whisper

Curated By: Marcela Vieira

First Hour: experiments on common ground is an activation in David Horovitz’ 7th Ave Garden by members of Supercollider 2025 SciArt Ambassador Cohort and friends. The space is activated with sculptures, performances, and idiosyncratic interventions—both virtual and real—that simulate fictional scenes governed by unreal logics. It is a situation similar to what we experience when entering a new stage of a video game. As we step into the space we may find ourselves wondering: what is happening here? What is the code, the language, the way to interact with these works? Who are these figures? Since understanding takes time, perhaps we will be left only with impressions, rather than with clear answers to our questions.

I’m sharing new work in this very dreamy show this evening with my Supercollider cohort ✨ please come by if you’re free!

🧿🧿🧿

Supercollider x David Horvitz Garden

First Hour: experiments on common ground

Saturday, September 27, 2025 @ 5 - 9pm
David Horvitz’ 7th Ave Garden
1911 7th Ave, Los Angeles, CA 90018

Artists: Aroussiak Gabrielian, Devin Wilson, Ellie Schmidt, Ina Chen, Nat Decker, Patricía Lino, Sadia Quddus, Whisper

Curated By: Marcela Vieira

First Hour: experiments on common ground is an activation in David Horovitz’ 7th Ave Garden by members of Supercollider 2025 SciArt Ambassador Cohort and friends. The space is activated with sculptures, performances, and idiosyncratic interventions—both virtual and real—that simulate fictional scenes governed by unreal logics. It is a situation similar to what we experience when entering a new stage of a video game. As we step into the space we may find ourselves wondering: what is happening here? What is the code, the language, the way to interact with these works? Who are these figures? Since understanding takes time, perhaps we will be left only with impressions, rather than with clear answers to our questions.

“We Are All Evil” is my limited edition oracle deck available @tinagallery___ ⁣⁣⁣⁣
⁣⁣⁣⁣
it’s an 80-card deck with a booklet about the aesthetic, ethical, and political implications of AI and divination. it’s a document of this dirty mirror we humans are making right now called AI. i don’t want to be afraid of a mirror, any mirror, but what to do when the mirror is reflecting something horrifying?⁣
⁣
i made the images for each card with Adobe Firefly’s AI Text to Image generator, with each card posing a mystical conundrum that, if approached with inquiry, can function like a koan. the deck is loosely based on the tarot structure but recasts the major arcana as archetypes of Mommy 🥛 the accompanying 64-page booklet collects excerpts of text critical of AI, elucidating its weaponization by state and corporate power. ⁣⁣⁣⁣
⁣⁣⁣⁣
as i made it, and as i’ve made my living these last years as an astrologer, i started to conjure a character: “A fortuneteller at the end of the world.” if it’s the end of the—or a—world, what sort of future is there to foretell? really, though, how do we even do that? ⁣i think we should try.⁣⁣⁣
⁣⁣⁣⁣
for this project, i worked closely with the luminous @sadiaaa who has been my partner in deviant and inspirited invocations over the last year 🧟‍♀️🧟‍♀️ sadia was the graphic designer of the deck, booklet, and packaging, as well as the designer and director of these photographs, and thank a goddess she was.⁣ ⁣⁣⁣
⁣⁣⁣⁣
Images designed and directed by Sadia Quddus⁣⁣⁣⁣
Photographed by Sadia Quddus and Dougal Henken @decreation_studio
⁣⁣⁣⁣
[image descriptions in alt text]

“We Are All Evil” is my limited edition oracle deck available @tinagallery___ ⁣⁣⁣⁣
⁣⁣⁣⁣
it’s an 80-card deck with a booklet about the aesthetic, ethical, and political implications of AI and divination. it’s a document of this dirty mirror we humans are making right now called AI. i don’t want to be afraid of a mirror, any mirror, but what to do when the mirror is reflecting something horrifying?⁣
⁣
i made the images for each card with Adobe Firefly’s AI Text to Image generator, with each card posing a mystical conundrum that, if approached with inquiry, can function like a koan. the deck is loosely based on the tarot structure but recasts the major arcana as archetypes of Mommy 🥛 the accompanying 64-page booklet collects excerpts of text critical of AI, elucidating its weaponization by state and corporate power. ⁣⁣⁣⁣
⁣⁣⁣⁣
as i made it, and as i’ve made my living these last years as an astrologer, i started to conjure a character: “A fortuneteller at the end of the world.” if it’s the end of the—or a—world, what sort of future is there to foretell? really, though, how do we even do that? ⁣i think we should try.⁣⁣⁣
⁣⁣⁣⁣
for this project, i worked closely with the luminous @sadiaaa who has been my partner in deviant and inspirited invocations over the last year 🧟‍♀️🧟‍♀️ sadia was the graphic designer of the deck, booklet, and packaging, as well as the designer and director of these photographs, and thank a goddess she was.⁣ ⁣⁣⁣
⁣⁣⁣⁣
Images designed and directed by Sadia Quddus⁣⁣⁣⁣
Photographed by Sadia Quddus and Dougal Henken @decreation_studio
⁣⁣⁣⁣
[image descriptions in alt text]

“We Are All Evil” is my limited edition oracle deck available @tinagallery___ ⁣⁣⁣⁣
⁣⁣⁣⁣
it’s an 80-card deck with a booklet about the aesthetic, ethical, and political implications of AI and divination. it’s a document of this dirty mirror we humans are making right now called AI. i don’t want to be afraid of a mirror, any mirror, but what to do when the mirror is reflecting something horrifying?⁣
⁣
i made the images for each card with Adobe Firefly’s AI Text to Image generator, with each card posing a mystical conundrum that, if approached with inquiry, can function like a koan. the deck is loosely based on the tarot structure but recasts the major arcana as archetypes of Mommy 🥛 the accompanying 64-page booklet collects excerpts of text critical of AI, elucidating its weaponization by state and corporate power. ⁣⁣⁣⁣
⁣⁣⁣⁣
as i made it, and as i’ve made my living these last years as an astrologer, i started to conjure a character: “A fortuneteller at the end of the world.” if it’s the end of the—or a—world, what sort of future is there to foretell? really, though, how do we even do that? ⁣i think we should try.⁣⁣⁣
⁣⁣⁣⁣
for this project, i worked closely with the luminous @sadiaaa who has been my partner in deviant and inspirited invocations over the last year 🧟‍♀️🧟‍♀️ sadia was the graphic designer of the deck, booklet, and packaging, as well as the designer and director of these photographs, and thank a goddess she was.⁣ ⁣⁣⁣
⁣⁣⁣⁣
Images designed and directed by Sadia Quddus⁣⁣⁣⁣
Photographed by Sadia Quddus and Dougal Henken @decreation_studio
⁣⁣⁣⁣
[image descriptions in alt text]

“We Are All Evil” is my limited edition oracle deck available @tinagallery___ ⁣⁣⁣⁣
⁣⁣⁣⁣
it’s an 80-card deck with a booklet about the aesthetic, ethical, and political implications of AI and divination. it’s a document of this dirty mirror we humans are making right now called AI. i don’t want to be afraid of a mirror, any mirror, but what to do when the mirror is reflecting something horrifying?⁣
⁣
i made the images for each card with Adobe Firefly’s AI Text to Image generator, with each card posing a mystical conundrum that, if approached with inquiry, can function like a koan. the deck is loosely based on the tarot structure but recasts the major arcana as archetypes of Mommy 🥛 the accompanying 64-page booklet collects excerpts of text critical of AI, elucidating its weaponization by state and corporate power. ⁣⁣⁣⁣
⁣⁣⁣⁣
as i made it, and as i’ve made my living these last years as an astrologer, i started to conjure a character: “A fortuneteller at the end of the world.” if it’s the end of the—or a—world, what sort of future is there to foretell? really, though, how do we even do that? ⁣i think we should try.⁣⁣⁣
⁣⁣⁣⁣
for this project, i worked closely with the luminous @sadiaaa who has been my partner in deviant and inspirited invocations over the last year 🧟‍♀️🧟‍♀️ sadia was the graphic designer of the deck, booklet, and packaging, as well as the designer and director of these photographs, and thank a goddess she was.⁣ ⁣⁣⁣
⁣⁣⁣⁣
Images designed and directed by Sadia Quddus⁣⁣⁣⁣
Photographed by Sadia Quddus and Dougal Henken @decreation_studio
⁣⁣⁣⁣
[image descriptions in alt text]

“We Are All Evil” is my limited edition oracle deck available @tinagallery___ ⁣⁣⁣⁣
⁣⁣⁣⁣
it’s an 80-card deck with a booklet about the aesthetic, ethical, and political implications of AI and divination. it’s a document of this dirty mirror we humans are making right now called AI. i don’t want to be afraid of a mirror, any mirror, but what to do when the mirror is reflecting something horrifying?⁣
⁣
i made the images for each card with Adobe Firefly’s AI Text to Image generator, with each card posing a mystical conundrum that, if approached with inquiry, can function like a koan. the deck is loosely based on the tarot structure but recasts the major arcana as archetypes of Mommy 🥛 the accompanying 64-page booklet collects excerpts of text critical of AI, elucidating its weaponization by state and corporate power. ⁣⁣⁣⁣
⁣⁣⁣⁣
as i made it, and as i’ve made my living these last years as an astrologer, i started to conjure a character: “A fortuneteller at the end of the world.” if it’s the end of the—or a—world, what sort of future is there to foretell? really, though, how do we even do that? ⁣i think we should try.⁣⁣⁣
⁣⁣⁣⁣
for this project, i worked closely with the luminous @sadiaaa who has been my partner in deviant and inspirited invocations over the last year 🧟‍♀️🧟‍♀️ sadia was the graphic designer of the deck, booklet, and packaging, as well as the designer and director of these photographs, and thank a goddess she was.⁣ ⁣⁣⁣
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Images designed and directed by Sadia Quddus⁣⁣⁣⁣
Photographed by Sadia Quddus and Dougal Henken @decreation_studio
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