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I get that generative AI isn't like, innately evil. And that "stealing art" isn't really a thing that matters. But I still don't give a shit about AI art. AI models don't have perspectives, they don't care about things, they don't make decisions, and those are all the things that make art interesting. There's so much art made by people out there that I don't see a reason to spend my time on AI art.

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forever grateful for the math teachers that showed me the beauty of math. learning about harmonographs and tessellations and menger sponges in the 7th grade was beyond cool and unknowingly set me on the path i'm on today

Who even decided that kids hate math cause I just wanna talk

Math is so freaking fun guys trust🙏🙏😣😣😣

It’s like the only class where I genuinely feel like I’m learning new stuff every day. Just, math is amazing, like it’s literally the code to the universe ygkhgdrfgjbhjfthdfh

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not to be a number nerd on main but 2025 (45^2) will be the only square year most of us ever experience. the last one was 1936 and the next one will be 2116

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I am very much in the “AI art is not stealing or ontologically evil but it is boring and not worth my time” camp. There are billions of creative humans in the world, more born everyday, no reason to spend any of my time engaging with something algorithm generated (even in the cases where humans have spent a bunch of time directing that algorithm).

Yeah and I think that's valid, but some people just like playing with the weird robot to see what shit it puts out. You could ask an AI to make a song about Obama slapping his nuts and it would generate it for you in the time it would take you to convince a human artist that this is in any way a good idea.

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Physics is to math as Python is to Haskell.

In physics, everything is typed dynamically. Sure, the codomain, i.e. the units of a function or quantity is usually static, but the domain, i.e. the dependent variable are whatever they need to be.

Meanwhile in math, we specify what our objects are. They are statically typed. Even if I have no clue what a Haskell function does, I can at least look at its type signature to get a rough idea.

I wish physics were statically typed with explicit type annotations because it is driving me up a wall that, for instance, both the force between two points and the net force of a single point are referred as 'the force'. They have different type signatures!

That, and energy. 'Energy' is not conserved. The total energy of an isolated system is, but the energy at a point given by the potential energy field can of course change. This ambiguous use of language makes it really difficult for idiots like me to learn physics. I am not good with wishy-washyness. If you input ambiguous language into my brain, I can regurgitate grammatical connections between vocabulary words (you know, the stuff even an LLM can do), but you can't expect genuine insight from me. For that, I need clear, bright lines. How can you have theorems if you don't spell out your assumptions!

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My favorite example of girl math is when David Hilbert and Albert Einstein couldn't solve how energy conservation worked in general relativity, so Hilbert asked Emmy Noether about it and she solved it for them.

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there is a level of seduction that exists beyond the body. something less tangible, and perhaps more potent. anais nin understood this idea about how desire does not begin with touch but with language, perception, and the sharp electric pull of a mind that challenges and excites you. in her journals, desire is not just a physical hunger but a hunger of the intellect, an unraveling of thought before an unraveling of the body. to be drawn into someone’s mind, to feel their thoughts press against your own, can be more intoxicating than any physical closeness.

—Caitlyn Richardson, 'can intellectual intimacy replace physical desire?', in milk fed

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Aarati Akkapeddi, Rituals of Recursion, (website, letterpress, performance), 2024

Exhibition: Aarati Akkapeddi: 'Rituals of Recursion', Curated by Chaitanya Harshita Nedunuri Kahn, Spill 180, Brooklyn, NY, January 11-25, 2025

Group Exhibition: The Space Between Words: Other Ways of Reading, Curated by Camilo Otero, Center for Book Arts, New York, NY, June 5 – August 30, 2025

«I developed a computer program that allows me to translate text into Kolam designs. Kolam (in Tamil) or Muggu (Telugu) is a traditional art form from South India. Kolams are auspicious drawings on the floor (usually at the threshold of the home) using rice flour. Kolams are traditionally made by women and created before sunrise. They comprise mathematically complex patterns that feature continuous intertwined lines. To encode text into Kolam designs, I first translate each character into eight-digit binary codes (made from only 0s and 1s). I then use an algorithm to map this translation onto a diamond-shaped matrix of dots. The algorithm moves top to bottom and left to right, drawing loops on each dot that correspond with either 0 or 1 according to the binary code translation of the text. The algorithm connects these loops, making sure to never connect loops associated with "0" to those associated with "1". The center of the matrix contains blank padding space, allowing the entire pattern to be distributed evenly on the matrix, preserving the perfect square/diamond shape. I started working with kolams because I wanted to translate my grandmother's name, Swarajyalaxmi, into a kolam as part of a reclamation of a mourning ritual after her passing in 2022. My family mourned my grandmother by invoking three generations following a patriarchal line (my grandmother, her mother-in-law, and her mother-in-law's mother-in-law). In contrast, I worked matrilineally, creating three kolams representing Swarajyalaxmi, Kameswaramma (her mother), and Rajyalaxmi (her grandmother). I draw the kolams signifying their names while simultaneously playing audio from an interview with her a month before she passed away at age 101. The audio shows how my grandmother's name signifies independence in the colonial context, and the interview also highlights her resilience in the face of patriarchal oppressions such as being married at age twelve. In this series, I expand on this work by incorporating letterpress printed works created using a set of 3D-printed kolam monotype blocks. There are kolams for my grandmother, her mother, and her grandmother but I also include letterpress prints that extend the process beyond familial connections. There are kolams commissioned by friends honoring their loved ones, kolams honoring martyrs, specific places, and some that feature messages of resilience and resistance. In these works, I see the act of translation as a ritual of reverence. invited all to spend time with each kolam and decode its meaning using kolam.codes. On this website, visitors could also encrypt new kolams.»

At Center for Book Arts

At Spill 180

Performance at Spill 180

At Spill 180

«In addition to the artwork, the Spill 180 exhibition also featured a "reading nook" with a zine of Telugu poetry curated by The Telugu Archive (Sai Priya Kodidala). The poems touch on themes of patriarchy, resistance, and the ways women have shared histories through mediums outside of traditional academia (i.e. song, clothing, kolam/muggulu). Sai Priya Kodidala is an independent writer and researcher from Hyderabad, India focusing on the intersection of Telugu literature, politics, history and art. The Telugu Archive traces the rich socio-political history of resistance, civil rights and revolutionary politics. You can view the zine online here.»

Reading Nook at Spill 180

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Joy Sullivan, from “Culpable”, Instructions for Traveling West

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2025

BE A STUDENT OF WHAT YOU ADMIRE

DO IT BADLY RATHER THAN NOT AT ALL

TO DESPAIR IS TO CEDE VICTORY TO THOSE WHO DO NOT DESERVE IT

BROADEN YOUR CULTURAL HORIZONS

REVEL IN THE ANALOGUE

ACTION ABSORBS ANXIETY

GRIEF IS PRODUCTIVE; GUILT IS NOT

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𓆝 𓆟 𓆞

post/artist

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Source details and larger version.

Some strange and unusual vintage diagrams.

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I want to see the fall of LinkedIn during my lifetime

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