cubeb smoker boudoir doll postcard (c. 1929) .

Andulka
Noah Kahan
The Bowery Presents

oozey mess

if i look back, i am lost
Mike Driver

bliss lane
ojovivo

roma★
Aqua Utopia|海の底で記憶を紡ぐ
Claire Keane
Doug Jones
Sweet Seals For You, Always
NASA

@theartofmadeline
Today's Document
Misplaced Lens Cap
KIROKAZE
noise dept.

gracie abrams
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@eyecache
cubeb smoker boudoir doll postcard (c. 1929) .

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"The AI slop aesthetic is more than a technical artifact or cultural curiosity. It’s the consumer-facing product of computational capitalism—created by transforming human culture into a standing reserve of data. Each uncanny image, synthetic influencer, and AI-generated article is part of a much wider transformation. Slop is waste, but it’s also fuel.
Slop is the product of a different kind of Krebs cycle. It begins when AI models are trained by devouring billions of images, videos, and texts from the internet, using neural networks with trillions of parameters that learn to identify patterns, relationships, and structures in the data. To digest all this requires staggering amounts of energy. Synthetic outputs are then excreted and then rapidly spread online. Then they are ingested once more, and the cycle continues.
This is the latest in a long evolution of industrial media that has been recognized by theorists and artists over decades. We could think of Vilém Flusser’s “technical images” in the 1980s, or Harun Farocki’s “operational images” in the early 2000s. Now we have “metabolic images.” Metabolic images are visual material made by consuming billions of other images to be broken down and absorbed by AI models via a gargantuan infrastructure that absorbs energy and water, and excretes media, atmospheric carbon, and other pollutants. If we consider all the forms of generative AI, including text, images, code, and video, it is fundamentally metabolic media. It has a burn rate that is astronomical and growing, and is now directly competing with humans for basic resources like land, energy, minerals, and fresh water.
Karl Marx once described the shift from rural to urban living under capitalism as a disrupted metabolic process. In pre-industrial societies, waste easily cycled back into production—human and animal feces from small farms returned to the earth as fertilizer, maintaining soil fertility and sustaining agriculture. But industrial modernity broke this cycle. As masses of people migrated to cities, the human waste that once nourished fields began accumulating as urban pollution.
People threw excrement into the streets, depriving rural soils of essential nutrients. Soils became depleted, which then required the introduction of artificial fertilizers, exacerbating a cycle of environmental degradation. John Bellamy Foster later called this phenomenon a “metabolic rift”: the systemic disruption of ecological and metabolic processes by capitalist production. Sociologists like Jason W. Moore trace these metabolic rifts back to capitalism’s origins in the sixteenth century, and they resurface in new forms as each phase of industrial development reorganizes the planet.
The turn toward massive, data-heavy generative AI is driving a new and dramatic metabolic rift. It’s affecting the environment, patterns of work, supply chains, culture, and visuality itself. And it’s filling information ecosystems with torrents of shit, endless digital detritus which is never properly flushed out. Instead, it is fed back into the system as raw material for the next generation of AI models. This is the basic material cycle of AI’s metabolism: consumption and excretion patterns where AI-generated images have material consequences and consequences for our materials." —Kate Crawford, Eating the Future: The Metabolic Logic of AI Slop
Akira Uno - Max Factor Ad (1968)
The Magician
Gertrude Abercrombie
oil on masonite, 1956
Marguerite Zorach (American,1887-1968)
Two Cats, 1929

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Schiaparelli / Spring 2023 Couture
Vlada Roslyakova for Dior FW 2009
CELINE Spring/Summer RTW 2026 if you want to support this blog consider donating to: ko-fi.com/fashionrunways
Yuri Klapouh (Ukrainian,b.1963)
Female portrait, 2003
oil on canvas
Maison Martin Margiela autumn/winter 1998-1999 Photography: Mark Borthwick

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Anna Park aka 안나 파크 (American-South Korean, b. 1996, Daegu, South Korea, based Brooklyn, NY, USA) - Substance, Drawings: Pencil
Nabil Anani, Palestinian Folklore, 2020.
Acrylic on canvas, 110 x 100 cm. Courtesy of Zawyeh Gallery.
Nabil Anani (Palestinian, 1947l3)
John Galliano for Christian Dior, Spring/Summer 1999 Haute Couture
Frida Gustavsson, John Galliano Spring/Summer 2011
Saatchi | Neave Bozorgi

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kiss me like your mirror
zuhair murad FW02 haute couture for paris fashion week circa. 2002
Schiaparelli / Fall 2021 RTW