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Date: November 23, 2025

Summary: This issue opens from Dubai, where I’m split between the Dubai Future Forum and MBZUAI’s “The Future of Being Human” symposium, and uses Hal Foster’s *The Anti-Aesthetic* and DOGMA 95 as lenses on generative AI. The lead essay argues for an AI Anti-Aesthetic: a way of working with machine image-making that keeps the seams visible, foregrounds intention and judgment, and restores the interval between prompt and picture as the place where thinking happens. From there, the newsletter moves through a set of signals and stories: Metalabel’s “Promotional Principles for Creative People” as a kinder framework for self-promotion; Afritech Organic Leather’s circular tanning process that turns agricultural “waste” into high-quality leather; Patchwork’s gathering on AI infrastructure standards; and Friday Gallery’s *Mother Tongue* lending library, where I contribute the gloriously peculiar *The Velvet Monkeywrench*. There’s a book rec on *The Night Climbers of Cambridge* via Shawn Chiki, a cluster of Discord discoveries from Piet Zwart facsimiles to Windstar’s new-age audio seminar, AI slide-deck startup Gamma, calls for massive investment in AI safety, shaded routing in Google Maps, and a “GenAI Quickstart for Educators” that frames refusal as a principled stance. It closes with a spotlight on Olalekan Jeyifous’ richly meaning-filled visual work (decidedly not “AI slop”) and an invitation into the Near Future Laboratory Patreon and Discord community, where weekly Office Hours and shared projects keep imagination social, practiced, and alive.

Essentially: Treat AI not as a frictionless image vending machine, but as a tool that keeps the seams of meaning visible—reclaiming the interval between prompt and picture as a site of judgment, imagination, and cultural R&D.

But why? As generative AI normalizes an aesthetic of smooth, context-free competence, it becomes easier to skip the hard work of intention: why this image, why this frame, why this story at all. This issue pushes back on that slide by revisiting *The Anti-Aesthetic* and DOGMA 95, arguing for an AI-era practice that exposes scaffolding, foregrounds judgment, and treats images as social operations rather than decorative outputs. The surrounding signals—from circular tanning to activist publishing, from refusal guides to community salons—are reminders that the future of creativity is not just about faster tools but about the cultures, values, and communities that decide what those tools are for.

Near Future Laboratory – w47y25
Near Future Laboratory – w47y25
Near Future Laboratory – w47y25

The AI Anti-Aesthetic

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Hello from Dubai, where I'll be for the week split between two events: the Dubai Future Forum Tues - Wed, and then Thurs - Fri in Abu Dhabi at MBZUAI for the symposium “The Future of Being Human”: HCI Symposium 2025

In the meantime..it was a 15 hour flight, and I was thinking about AI and stuff.

Recently, at a symposium on AI, I joined a group workshopping DOGMA 95 in the context of generative AI. The conversation led me into thinking back to Hal Foster's 1983 slender little lavendar volume “The Anti-Aesthetic”. The collection argued that postmodern art needed to resist the spectacle of smooth surfaces and slick production values. The anti-aesthetic was about making work that revealed its own construction, showed the seams, embraced imperfection and contradiction. Etc.

Generative AI has revived this problem at industrial scale. The tools promise infinite images, instant style transfer, and a frictionless feed of visual novelty. Every prompt produces something that wants you to feel its "finished-ness." But that finish is a bit of a problem: it's an aesthetic of smooth competence detached from intention, history, or risk.

Foster's point feels newly relevant, if not urgent. The essays (with some exceptions) ask us to see aesthetic production as a social operation, not a decorative act. This may seem obvious today, but that sense is a legacy evolved over 40+ years since the text first appeared.

What's being automated by AI is not just technique; it's judgment through the slow negotiation between maker, material, model and meaning. When a generative system fills that space for us, it collapses the moment where thinking actually happens.

Thinking upon this, I can relate to the feeling. Sometimes I'll find myself wondering — wait..what am I actually trying to say with this image? Why this subject? Why this composition? The AI makes it easy to generate something that looks good, but that ease can obscure the deeper questions about why the image matters at all.

Perhaps what we need now is not better “AI art,” but better questions about what art becomes when generation replaces composition. The AI anti-aesthetic today might mean making work that leaves visible evidence of decision: why this subject, why this frame, why this image at all? It might mean treating AI as a drafting instrument rather than a vending machine—pausing before publishing, asking what story the image tells about the world that made it possible.

In Foster's moment of “The Anti-Aesthetic”, postmodern artists responded by quoting, sampling, re-contextualizing. Their critique was to make the mechanisms of culture visible.

Ours could be similar: to show the scaffolding of generation, expose datasets, treat the prompt log as part of the work. Not to moralize about machines, but to restore a sense that meaning requires participation and that the interval between intention and the digital image is where imagination actually lives.

If the 1980s needed an Anti-Aesthetic to push back against spectacle, the 2020s may need an AI Anti-Aesthetic (not necessarily an anti-AI or anti-AI aesthetics) to push back against automation. The task isn't to reject AI outright. It's to reclaim that interval and locate the place where thinking happens.

Principles of Promotion METALABEL

Promotional Principles for Creative People

PROMOTE OR PERISH

Promotional Principles for Creative People

Metalabel's practical guide for creative people who love making work but struggle with promotion. It offers twelve principles such things as “do it for yourself” and “small is beautiful” to things like release windowing, hosting events, and making the next thing. All of this reframes marketing as care, context, and community rather than chasing metrics.

It's got examples, anecdotes, and contributions from other creators (me too!), it argues for defining your own version of success, protecting your creative joy, and staying devoted to the long-term practice of making. It seems to still exist as a living/evolving Google doc.

Read more →

CIRCULAR ECONOMICS The Future Is Tanned (Naturally)

Manufacturing Futures
SUSTAINABILITY MANUFACTURING CIRCULAR ECONOMY CRAFTSMANSHIP

AFRITECH

AFRITECH

Bumbling around trying to find the hotel registration here at the Dubai Future Forum (I got dropped off in back, fortuitously at the entrance to the exhibits), I came across the booth of Dr. Cecilia China, CEO of Afritech Organic Leather. Coming from what California counts as ‘futures’, seeing a process innovation was not 100% expected, which is fantastic.

Afritech feels like its come from a future leather industry. Instead of the usual chromium-heavy tanning process, they’re using natural tannins pulled from everyday agricultural waste..like cashew husks. Cleaner for the environment, and suddenly those “wastes” become valuable local resources

What I love is how they blend real scientific research with African craftsmanship. They’re not just making eco-friendly tanning agents—they’re turning them into high-quality organic leather and luxury products that actually hold up. It’s the kind of circular, locally powered innovation that helps you imagine into plausible manufacturing futures.

Read more →

Get Sync'd

Patchwork: Syncing on AI Standards

Patchwork: Syncing on AI Standards

Everyone's shipping. But are we syncing?
​Across AI, builders are creating new standards for agents, identity, and payments — sometimes solving problems no one else has seen yet, and other times solving the same ones differently.
​This is a community breather — a space to step back, compare notes, and align the patchwork of standards.

Read more →

Lending Library

Friday Gallery - Mother Tongue

Mitch Jafery's Friday Gallery at The Row DTLA installs the Mother Tongue lending library and popup bookstore, a weaving together of perspectives on power and language: from the conversations of plants, to the secret lexicon of an extinct female-only language. It will span cultures, eras, and genres: from protest poetry to con artists, from political philosophy to comic books.

My own contribution was one of my favorite peculiar books, “The Velvet Monkeywrench” by John Muir with these exquisite hand-drawn illustrations by Peter Aschwanden. And this deserves a short explanation.

The first car I ever bought — that beige VW Rabbit — came with a repair manual that had these awesome hand-drawn illustrations. It was a proper repair manual whose idiom was somewhere between Zen and the Art of Motorcycle Maintenance and the meaning of mechanical contrivances. I still have that book.

Then there was the ‘73 Toyota Landcruiser, then the Acura Integra, which took me across the country to a summer in Boulder Colorado, working as the fryer operator at the Rio Grande Restaurant. One night, out in the back alley disposing of the spent fryer grease, one of the other guys I would yap with after work — a certified longhair Boulder hippie cat — came over to me, floating about 1/2 a centimeter off the ground and, with a reverential gesture, handed me this book and said, “this is the manual I was talking about.” And then he glided away into the kitchen.

I immediately recognized the same illustration style as that peculiar repair manual I had from my old VW Rabbit. Peter Aschwanden.

The book is a trip. Get the original; do not bother with the reprint — every once and again they pop up on Ebay or Abe Books.

Go Visit →

Social Climbers Shawn Chiki

The Night Climbers of Cambridge

The Night Climbers of Cambridge

Parkour in the 1930s?

This pseudonymously authored book (“Whipplesnaith”) describes this secret group, led by the mysterious ‘Butterfly Catcher’, as they scale the Cambridge University buildings in the darkest hours.

(I'm still not sure if this is an elaborate fiction or historically accurate!)

Shawn Chiki pulled this off his wall while I was at Liam Young's studio at SCI-Arc doing a marathon of deeply engaging one-on-one's with the students. Shawn's portfolio and thesis work encompasses virtual, scale, and otherly dimensioned structures that look imminently climbable, so it's no wonder that he'd have this historical reflection on humans clambering.

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From the Discord

From the 📖-books Channel

DEPARTMENT OF Avant-Garde Typography  | shared by Drew Wiberg 246/3383

Piet Zwart Book

Piet Zwart is a Dutch designer known for his innovative approach to typography and design. As part of the “Neue Grafik/New Graphic Design/Graphisme actuel Facsimiles” collection, his work is available through the Letterform Archive. The book — “NKF: Piet Zwart’s Avant-Garde Catalog for Standard Cables, 1927–1928” — features a facsimile reprint of an original issue highlighting Zwart's work, accompanied by an introduction that situates his contributions within the broader context of twentieth-century graphic design history.

Read On →

From the eh-what?? Channel

DEPARTMENT OF Read  | shared by Rick Griffith

Windstar Enterprises

Windstar blends psychology and sound to help you rewrite your mental script. Their Solutions Seminar uses music, guided audio, and a unique video brochure to help you break free from old patterns and unlock your potential.Change your story, change your life—Windstar’s Solutions Seminar mixes music, memory, and a dash of 80s flair to help you take charge of your future.

What the..? →

From the ai-for-powerpoint? Channel

DEPARTMENT OF We Never Wanted To Make Them Anyway  | shared by mtait

Take This Job

I worked at a branding agency in NYC once. Not for very long. Culture clash. I'll never forget the one guy who sat over there with a few contrivances to bind and cobble presentation and PowerPoint pitch decks for 'leave behinds'. No one else could mess with his kit. He'd totally mad dog any one who came around. He was king of his somewhat sad little castle.
Presentation startup Gamma just raised $68 million at a $2.1 billion valuation, boasting 70 million users, profitability, and a lean 52-person team. The company is taking on PowerPoint and Google Slides with AI-powered, instant presentations. Gamma is shaking up the presentation world, turning text into slick slides with AI and racking up millions of users—all while staying lean, profitable, and ambitious enough to take on the industry’s biggest names.

$ Read On →

From the ai-apocolypse Channel

DEPARTMENT OF Stay On The Rails  | shared by ian

$300 billion to save the world

AI is hurtling forward, but the money to keep it from going off the rails is barely a blip. Stanford’s Charles Jones says we should be spending billions more to keep humanity safe—because the stakes couldn’t be higher.

$ Read On →

From the 🚦signals-and-inspirations Channel

DEPARTMENT OF Take Cover  | shared by Mateusz 39/513

According to a report from Android Authority, Google Maps is developing a feature that enables users to select routes with increased shade, thereby allowing pedestrians to avoid sunnier, potentially hotter paths. This initiative appears to be a response to rising concerns about heat exposure linked to global warming.

Find Shade →

From the dogma95-for-writing Channel

DEPARTMENT OF Read  | shared by manualentry

GenAI Quickstart for Educators

GenAI may be powerful, but writing studies has its own principles. Found this quickstart guide for educators who want to say ‘no’ to generative AI—not out of fear, but out of respect for the messy, diverse, and meaningful practice of writing. This guide champions a thoughtful, disciplined refusal of generative AI in writing studies, grounded in the belief that writing is more than efficiency and to think of it as such could possibly lead to its homogenization.

Read The Guide →

Not Slop

Olalekan B. Jeyifous is an extraordinary creative whose practice crosses across and between architecture, public art, immersive installation, and speculative visual culture—making. What I enjoy in particular with his work is the way he is able to integrate generative imaging techniques, tools, and practices that are meaning-making first, and technique second. This is most certainly not “AI Slop”.

Aesthetically Pleasing
Aesthetically Pleasing
Aesthetically Pleasing

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