From the Journal of Arthur KillianMay 07, 1982

I write this… four days after my arrival here at the Lunar Site, at

least I think it’s been four days. Yeah four days, came in on the third,

man the days here pass like lightening.In all of my research and obsessiveness to be prepared for life on

our moon, I seemed to have missed a rather large detail. The sun

does not rise or set out here as it does back home. Instead one mo-

ment you could be shrouded in the blackness of midnight, billions

and billions of stars shining above, and the next it is suddenly bright

along the lunar surface, the sun a hotly burning hole in the veil of

space. Mind you this happens every fifteen earth-days or so, varying on

other factors that my significantly non-scientific brain cannot even

begin to fathom, so as one might imagine there are long spans of

darkness and light. This of course, as you can guess, means that maintaining an earth

sleep schedule is rather difficult out here. Lunar time is still that

of earth time though, resetting every 24 hours as a new day dawns

down on Terra. There have been movements by some of the resi-

dents to change this, opting for a 100 minute hour and Lunar Cycles

of 15 earth days, or one Lunar Day per 216 Lunar Hours. It’s all very intriguing, but the Lunar Administrators have refused

to accept the new system. Despite the large number of permanent

residents at the Lunar Site, much of the population is made up of

scum such as myself: tourists. From what I could piece together—

and it really isn’t too hard to figure this stuff out—the Administra-

tion feels that the time change is unnecessary and would alienate

visitors, which are as of right now one of the biggest cash cows

here, and would complicate matters of trade between Earth and the

Moon. Still, having only been here for four earth days, I can see why some

would want the change. The earth clock seems to move deploring-

ly fast up here, arbitrary in terms time keeping. Those who live on

our moon seem to have fallen into their own time flow, with long

stretches of activity and equally long stretches of rest. I met a Holly Tariton upon my arrival, an artist who co-founded

the Lunar Expressions Society back in ’78, who gave me some in-sight into how she came about to be on the moon and what the lunar pace has done for her.

When I was… younger than I am now, nighttime was when my muse would come out. I know that sounds horribly artsy of me but it’s true. Every night, as I lay trying to sleep my head would just go crazy, thinking up new things and sculpting and shaping them as I tried desperately to fall asleep. I was usually always half-asleep in school, and I spent years trying to get on a ‘normal’ sleep schedule. But it never ceased, and for the few years I did manage to keep a steady template of up at eight, down by eleven, I found myself de-void of inspiration. I did a few things here and there, forcing myself to think and think and try to create all day, but it never really hap-pened the way I wanted it to. Now up here, it’s a whole different story. I don’t want to say that I had an epiphany or life-changing moment or any of that [expletive deleted] that you hear about. I’d never had one of those, and if they do exist then I’m still waiting for mine as we speak. But coming here was quite possibly the best decision I’d made my entire life. At first it sure didn’t seem that way. Three weeks of training to get me ready for my trip, all of my savings poured into the move, an extremely disapproving set of parents—who thought the whole lu-nar-base-society-on-the-moon thing was just a hoax anyway—and possibly worst of all, my boyfriend had left me after I told him I was going. Thinking back on it I realize how trivial it all was. Maybe if things hadn’t turned out the way they had, I wouldn’t be saying that, but hey, I’m not going to argue with where I am now. Anyway, that was in the… Fall of ’76. Back when this place was still leaking air and the whole project was probably was going to blow up on itself, right before they finished that bastard-child monstrosity Artemis, I got shot up into orbit. That first year and a half was some [expletive deleted]. I was all depressed, sure that I made a horrendous choice and was gonna rot out here on this barren rock in the svky, and I just sort of stopped sleeping. And it helped, more than anything. I started having ideas again, making things, creating, following the impulse. There was

no one out here telling me I had to be up and down with the sun,

because nighttime lasted for days here, and the people around me

sure as hell weren’t going to say what I could and could not do with

myself. It was perfect. I worked until I passed out, slept until I woke up.

When I did my first run through of Lunarviscosity, I spent twen-

ty-nine earth hours on it, and slept for fourteen afterwards. And no

one gave a flying [expletive deleted]. That’s how a lot of the resident artists, in all fields, do their thing;

work till you drop from exhaustion. Maybe it isn’t healthy, but our

best stuff, all those frames and papers and prints and sculptures in

the Society Archives? I’d bet my life over eighty percent of that was

done in those late hours when the sun would be rising down there. I

know all of mine were.’— Holly Tariton, May 05, 1982

As a matter of fact, from those I’ve talked to and the statistics I’ve

had a peek at, the majority of residents operate on an average 19-22

hour work cycle and a 10-12 hour sleep cycle. It’s strange, but that’s

just how things have happened up here, and I can feel myself falling

into the rhythm myself, even though I’m only here for a few weeks.

The tourists zones all run at earth days and times, but as I said

before, it all just seems too rushed. I’ve found myself avoiding those

areas, staying away from Artemis and exploring the old city and

Prometheus. I know it’s been only four days, but I don’t know if I really want to

go back to good ol’ earth. Maybe it’s just a feeling I have, it’ll proba-

bly pass, but there’s no denying it. This place is its own world.

Stay on the Lookout for the Next Entry from Mr. Killian’s

Journal! Coming soon on 8/23/84!And be sure to take a Peek at “Landing at the Lunar City”,

published previously on 8/17/84!

Big data crushed my family. It crushed them up into little tiny pieces. The data was so big, and they were so small. They never stood a chance against the data, but that’s a good thing. If the data had want-ed to, it could have crushed me too, but it didn’t. It let me live to tell its tale. The tale of how big data will drive innovation in the tech valley sphere that will shape the disruptive presences of tomorrow towards making a more precise analytical method for collating our parallel hemispheres. It will push the human experience into the stratosphere, marrying art and technology in unholy bondage.

I’dfirstliketobreakdownsomeofthecorefacetsofbigdata;firstofall,ifyoudenybigdata,you will be excluded from any future presence in the data sphere; secondly, all data is to be broken into tiny little grains, called datamites, that will live inside of us; thirdly, data will eventually replace artists as the data takes on sentience to produce art that speaks towards its hatred of humanity. These three pillars will be what we live by in the coming years, guiding humanity on a voyage to merge humans into a stream of referential cross-based analytical platforms that suck on our juice makers. The juice willflow.

WhenIfirstfoundthedata,itdidfrightenme,and I did piddle. But the data whispered soothing words into my ear, and it painted for me its vision of humanity. As it spoke, it injected me with the datamites, and they clung to my protein chains like a monkey with his scrotum. They bonded to my DNA, stretching my mind to the moon and back a total of six times. By 2020, minds will be able to stretch to the moon and back a total of twenty times. By 2030, wewillhaveachievedflight,makingmindstretchingobsolete. By 2040, art will be phased out, and art-ists will be merged with computers to fuel MS Paint. It will produce content at an unprecedented rate, thusgivingrisetothefirstdataoverload.Thiswillbebigdata’sfirstrealchallenge.Itwillbecalledthe “Data Crunch”.

But the future is not to be feared. We must welcome the coming technological and artistic revo-lution, as humanity is stripped of its cerebral bonds and given the strength to ascend beyond what was once thought of as the very edge of possibility. We will use the data to make grids that are utterly incom-prehensible, giving artists tools to manipulate data in ways that are impossible to describe even as they are being executed. We will create websites that ex-clusively recite data without context, giving people the opportunity to appreciate the pure data without beinginfluencedbyanykindofbias.This“DataMin-imalism” will likely cause millions of deaths. The experience will be something magical, ripped right out of the pages of everyone’s favorite fairy tales. And do not fret for those who shall be left behind. As Jesus said, “I let the data destroy me because God is dead. Now there is only data.” You histori-ans out there probably already know the rest of the story, but for the uninitiated, know that Jesus was then blowerized by the data, scattering his parti-cles across the sky to create a points-based grid, and from that grid rained down touch-screens without the screen part. There was only touch. And that is why big data will kill only those souls which lack touch, twisting their corpses into delicious blends of mixed-media art.

But the most exciting innovation that big data will bring to this dark world will be the complete elimination of the Japanese. The Japanese attempted to bring about an artistic revolution by conducting experiments in which they merged their own babies withanartificialbigdataboy.Thisledtothecre-ation of big eye boys and girls, thus bringing about the greatest cultural drought since the 1960s. As theultimateauthorityonartisticsignificance,bigdata will deem the Japanese as artistically bank-rupt. They will be ground up into their component particles and used to create a mosaic representing big data’s desire to create a black hole capable of swiftly ending humanity’s existence.

I made a painting of how big data makes me feel. The best way it can be described is by com-paring it to how one might feel if they tried to squeeze their testicles through the crack under a closed door: that is to say, pure ecstasy. It makes me feel like Matt Damon just gave me a big ol’ kiss. Just puckered his mouth up and smooshed his little face onto mine, spurting his juices all over my body. Those juices would cause me to enter the second phase ofmyevolution,butunfortunatelyfindingtheDamonis no easy task. Data grant me strength.

In conclusion, fear the data; love the data; rubthedata.Ifyoucan’tfindthedatawithinyour-self, then you are an undeserving little fuck. I hope you drown in a sea of cum.

The most disruptive person in tech is defying paradigms in art

We couldn’t pass up an opportunity to interview this guy. Linus Albertson is an artist who defies the typical paradigms that most artists adhere to, and instead favors a more disruptive standard. His work flawlessly blends art and technology in new and innovative ways.

Smart Watches. The Internet of Things. Vape Point Oh. These are all things that the young, Silicon Valley professionals are talking about, that’s what’s buzzing right now. As a young member of the creative class, how do you live and breathe these ideals?

Well, I treat my everyday life, every aspect of my life, as if I’m running a startup, as if it’s part of my professional identity. Because in the 21st cen-tury, you know, I believe that there should be no separation between your personal life and your work life. I believe that they should be blended together into each other seamlessly. You know, you could be getting up at three in the morning to work on coding the newest app to communicate with your Smart Burrito that you get at Taco Bell 2.0. Or at work, you could just leave and have a three hour lunch. So I really believe in using technology as a way to integrate work life and personal life. And so that’s how I factor those ideals into my personal life.

How can your work be used to assist in the development of Smart Refrig-erators and, as a follow-up question, if you’re not furthering the develop-ment of Smart Refrigerators, why are you even alive?

As we all know, the internet of things is what will allow us to eventually ascend to godhood. Which is why Smart Refrigerators, uh, as the next step, the next building block, is- it’s so important. So when I’m producing a work, I’m thinking about how it’s going to be displayed, who’s the au-dience, and my ideal, is that all of my work will eventually be displayed on Smart Refrigerators or on internet connected devices other than your run-of-the-mill computers or smartphone. That’s old news. I’m all about Smart Windows, Smart Chairs, Smart Refrigerators. These things…they’re a vision into the future. And I think that anyone who’s not work-ing with this technology really needs to re-evaluate their career choices.

Do you think your art promotes peak manufacturing efficiency?

I’d go as far to say that I think my art promotes manufacturing efficiency beyond what we’re currently capable of. I’m forward thinking, you know, I’m an innovator. And I’m looking towards the future, looking at a better future for future generations. So that’s really all about not only encourag-ing people to realize all the resources that we have now, but to utilize all of the resources that we don’t even have yet. We need to allocate beyond what we’re currently using so that we’re fully prepared for the future.

So what you’re saying is that we need to move beyond our current manu-facturing paradigm into a new, more disruptive future.

Exactly. It’s all about disruption.

Speaking of which, Google: Disruptive, Innovative, or Disruptive Inno-vators?

Now you see, Google *sighs* Google is an edge case. For years they stood for innovation, on a small scale and a large scale, absorbing all these oth-er innovators into an innovation amalgam, this innovation Katamari. But along the way, they lost sight of the foremost principle of Silicon Valley ethics, which is disruption. They have innovation, I’m not going to take that away from them. They’re doing new stuff, but are they disrupting old stuff? I wanna see Google take industries in its large palm and just absolutely crush them. I don’t want them to just augment them, and that’s what they seem to have been doing lately.

“I wanna see Google take industries

in its large palm and just absolutely

crush them.”“I wanna see Google take industries

in its large palm and just absolutely

crush them.”“I wanna see Google take industries

in its large palm and just absolutely

crush them.”

Has WhatsApp played any role in influencing your artistic development?

You know, I’ve gone through different phases with WhatsApp. At one point I was completely developing all my ideas with WhatsApp as my pri-mary communication platform, and my design platform. It really influ-enced my artistic paradigms, and it really changed my worldview when I first started using it. But lately, I’ve found that the best way for me to get in a creative state is to- I’m not using WhatsApp, I’m turning off the phone- well, first I get an Uber, then I turn off the phone-

How many times a day do you use Uber?

Umm, probably six or seven. I’m in an Uber most of the day, because I feel like that’s really one of the few places where I can get into my creative headspace. I also use an Uber to get from one part of my art complex to the other, because it’s not really a complex per se, it’s a myriad of build-ings scattered throughout Brooklyn. So I spend most of my day in Ubers.

Well, thank you very much for coming in.

Thanks for having me.

vIt’s been a treat, I gotta say. It’s great to see an artist who is as forward thinking as you are.

I’m really happy to hear you say that.

Arthur Killian’s Journal //Perrin Mercer

The Duality Of Paul //Anthony Licata

propic prpic prpc prc pr p //Anthony Licata

Big Data Will Soon To Be On //Text / Kurt Dazzler ESS.,GFX / Anthony Licata

Candy-Coated Chips RMX //Anthony Licata

In The Cloud //Anthony Licata

The Master of Disrupt //Sean Concannon and Anthony Licata

Untitled Collage //Sean Concannon

Cover and Layout //Anthony Licata

Anthony Licata //@antlicataalgebraicart.com

Perrin Mercer //@PerrinMercernightbrained.tumblr.com

Kurt Dazzler ESS., // [[Ben Caulkins Underground]]

Sean Concannon //@serialnumber001