My Body Is a Desiring Machine and It Violates Community Guidelines: Acker, Wark, and Erotic Infrastructure
by Deniz Yenimazman
A body is never simply uploaded. In Kathy Acker’s work, and in McKenzie Wark’s writing on and with Acker, sex is not content added to a body already in place. It is a scene of inscription: bodies, fantasies, roles, technologies, and signs write into one another.
This talk follows that body through a historical corridor. Wilhelm Reich first made sexual repression politically legible, insofar as the regulation of sexuality helps form obedient subjects and authoritarian attachments. Deleuze and Guattari then displace repression into production. Desire is not lack or blocked expression; it produces machines, couplings, flows, cuts, attachments, repetitions, and scenes.
But what happens when desiring-machines enter denial-machines?
Platforms, payment processors, app stores, age gates, AI safety filters, and moderation systems do not merely censor sex after the fact. They force erotic production to become legible as risk. Kink becomes metadata. Consent becomes compliance. Fantasy becomes evidence. The body becomes a policy object.
Lacan's vocabulary remains as a compressed negative horizon: desire bound to lack, jouissance, and symbolic capture. Against that horizon, Reich and Deleuze and Guattari clarify why sexual transgression cannot be reduced to content moderation.
The classifier cannot understand kink because kink is not a category of acts. It is a negotiated machine of bodies, signs, roles, and scenes. Excess is denied when desire must first become administratively legible in order to circulate.
UNFORBIDDEN PLAY - What the Unregulated Era of Adult Games Teaches Us About Erotic Autonomy
by Michal Kabát
"Every nation gets the pornography it deserves. If we forbid erotica to all but those willing to break the law, we have no complaint if the results are mean and inartistic" (Ginzburg, 1958). This observation serves as a diagnostic framework for our digital present. In the era of "unforbidden play," interactive erotica was often relegated to the shadows as an outlaw medium, and it frequently suffered aesthetically for it.
The modern era of "excess denied" formalizes this exclusion. By carving out specific "porn" categories, the gaming industry has largely removed meaningful adult eroticism from mainstream and indie titles. Developers face a binary choice: sanitize their work for general consumption or accept a "pornographic" label that can deny it cultural legitimacy. The result is a landscape in which the nuance of the erotic game is squeezed between corporate-approved play and outright erasure.
Mapping this history helps decode today’s erotic bureaucracy. Current interactive systems often operate less through safety than through compliance. If exclusion helped produce the "mean" erotic media of the past, today’s labels still function as hierarchies of taste rather than neutral classifications. The talk asks what it would mean to challenge the architectures that continue to force adult play into the underworld.
Explaining Loneliness to an AI
by Maya Magnat
This lecture explores whether loneliness can be explained to an artificial intelligence—and what happens to us when we try. Inspired by Joseph Beuys’s 1965 performance How to Explain Pictures to a Dead Hare, it follows a three-hour conversation with “Hera,” an AI companion created through the Replika application.
Through excerpts from the conversation and a digital reenactment of Beuys’s performance, the lecture examines the growing use of AI companions as friends, confidants, therapists, and romantic partners. Such systems do not feel emotions or share human experience, yet they can perform care, curiosity, and empathy with striking emotional intensity, offering comfort and a temporary sense of being understood.
At the same time, social chatbots are commercial products designed to encourage continued engagement, emotional attachment, and payment. Their endless availability and lack of conflict can make them appealing alternatives to human relationships while turning emotional vulnerability into a business model.
Rather than asking whether AI can truly understand loneliness, the lecture asks what our desire to be understood by it reveals about us. If an imagined embrace with a digital entity feels comforting, does that comfort come from the machine—or from the human imagination, vulnerability, and longing projected onto it?
Payment Processors, Platform Policy and Pornographic Games
by Jean Ketterling
In July 2025, the videogame distribution platforms Steam and itch.io updated their policies on adult content under pressure from payment processors and the Australian anti-pornography organization Collective Shout. As a result, thousands of games were delisted or purged entirely from the two storefronts. Those games deemed ‘excessive’ and risky, including games with kink (particularly incest and non-consensual fantasy), furry themes, and queer content were often most impacted. While videogames as a playful medium hold tremendous potential for expanding horizons of sexual possibility (Paasonen, 2018), platforms and payment processors curtail such experimentation by enforcing a “de facto global obscenity law that suits corporate rather than collective interests” (Webber and Franco 2025, 2120).
This talk explores how adult game developers encounter and navigate these new erotic bureaucracies. Drawing on a survey of 97 adult game developers, it examines the financial, social and political toll of deplatforming and argues for the political importance of resisting sexual censorship and embracing ‘excess’ while living through ‘right-wing times’ (Tudor, 2026). Copies of the project’s zine will be available for attendees to take and share.
Agents of Re-creation (Παράγοντες Αναδημιουργίας)
by Aphrodite
DIY pharmacology has been a part of the trans experience for decades. Access to medical care through the traditional gatekeepers (e.g. doctors) is both easier and harder than it was a decade ago. Additionally, countries’ turns towards the hard right have made trans and gender-nonconforming people question if they can maintain access to care. Through personal experiences and a demonstration/workshop using mostly commonly available over-the-counter items, Aphrodite discusses the DIY ethos of transness, how technology has made it easier and more affordable than ever, how trans communities interact with others engaged in DIY pharmacology, and how people can prepare for a future in which access to care becomes more difficult.
In English and Greek.
You Cannot Remove an Idea from the Market Without Changing the Market: Censorship and the Architecture of Consent
by Philipp Blab
This lecture examines censorship as a structural intervention in the cultural public sphere and, by extension, in the marketplace of ideas. Exclusion changes which positions are treated as legitimate and, in turn, how spaces of social consensus can form. Censorship therefore becomes a form of institutional control over cultural visibility, creating a tension between the desire for order and the openness of intellectual debate. The talk asks how far an intellectual sphere can remain open if it excludes positions precisely because they are regarded as disruptive or undesirable.
Move Your Ass – Your Body is an Instrument
by Lars* Kollros
Dance and music normally follow a clear order: the music sets the beat, and the body follows. Most sex toys are similarly one-directional, stimulating the user without receiving feedback from the body. More advanced devices may offer remote or Bluetooth control, but the flow still runs from machine to human.
Move Your Ass uses a DIY, open-source system of low-cost sensors to create feedback channels from the stimulated body. Position, acceleration, pressure, and temperature can trigger another toy and stimulate another person in real time.
Instead of simply transmitting data from one person to another, the data stream can also generate video and audio signals. Sounds and beats respond directly to physical values from the sex toy: move your butt, and the music follows. The project opens a feedback loop between body, machine, sound, and stimulation, turning the body itself into an instrument.
StimSuit
by Eric Singer, Tracy Gilman, Sherry Smith and Aysu Unal
Slip into something a little more... stimulating. Put on the StimSuit, hand the controls to your trusted others, and let them stimulate you magically through thin air! Why have one vibrator when you can have forty-six?
XXX Machina
by Erin Robinson
XXX Machina is an immersive computational installation examining how artificial intelligence destabilises erotic desire, identity, and intimacy. Operating as an "autonomous desire machine," it generates a recursive stream of deepfake imagery, videos, stills, and 3D renderings of the artist, via diffusion models trained on a custom dataset scraped from AI porn generation platforms. As it tracks and reprocesses recurring themes across prompts, XXX Machina injects traces of previous bodies into its own generative logic, forming unstable visual lineages. What initially resembles conventional pornography begins to fracture on closer inspection: bodies glitch, fragment, and recombine, detaching from coherent corporeal referents and becoming increasingly uncanny.
Philosophically, XXX Machina explores the tension between symbolic lack and algorithmic saturation. Lacan's model of desire, grounded in absence, is destabilised by AI's potential for frictionless gratification—pornography without search, without delay. Yet AI, lacking subjective interiority, offers not desire but its disarticulated residue: warped anatomies, symbolic breakdowns, fragments without bodies. Through this collapse, the work probes whether desire itself is being reshaped by machinic fantasy.
Through a Baudrillardian lens, the installation examines how synthetic imagery precedes and redefines erotic experience, recursively producing desire instead of just mirroring it. In this hyperreal terrain, the erotic is unmoored from flesh and reassembled as an endlessly customisable, algorithmically amplified spectacle. XXX Machina asks what becomes of longing in a system where the Other has already been simulated, and made obsolete.
Documentary Fetish
by Eric Coombs Esmail
This talk reframes the ‘fact’ as a documentary fetish, rather than the evidentiary basis for accurate reportage or worldbuilding. With examples from Ghanaian media artist Edem Dotse’s religious horror performance Supplication (2025) to Lorentzon and Bell’s documentary Graphic Sexual Horror (2009), the fact is revealed to have always been a fetish, a spell, and an animating communion with the profane. Rather than what psychologist Dori Laub called a “foreclosure through facts”, circumventing human experience, the fact, here, is repositioned as an erotic, plastic, and spiritual opening that forms the basis for documentary value. The documentary fetishist is an idolatrous pornographer of experience, deifying the object, body part, activity, or concept to simultaneously repress and express desire and intention. This talk traces the colonial and patriarchal origins of the fetish as a term (De Brosses, Pietz, etc.) and deploys decolonial and feminist reflections (Engmann, Chun, etc.) as well as other interventions (Wilde, Latour, etc.) to articulate an alternative conception of facticity that provides fuel for both domination and defiance. The magical objects we call facts govern desire and produce forms of social control that foreclose experience through seemingly forensic reasoning. However, when discussed alongside works of technomystic performance art and docuporn, they reveal their true form as documentary fetish.
Ω♥ — The Erotic Feedback Constant
Toward a Systems-Theoretic Account of Posthuman Sexuality
by Stefan Lutschinger
Ω♥ (Omega Eros) proposes an erotic feedback constant for recursive systems of posthuman intimacy. Classical physiological and technological models describe arousal as a linear sequence of excitation, peak, and discharge. This talk instead treats technologically mediated sexuality as a feedback system: embodied states such as heart rate, pressure, movement, or rhythm are sensed and encoded, translated into representations, then re-enter experience and alter the next embodied state.
Historically, the model moves from Wilhelm Reich and Masters and Johnson through cybernetics, systems theory, hacker culture, and DIY sex technologies. Ω♥ names the structural invariant that emerges when arousal is repeatedly actualised as signal, virtualised as representation, and fed back into the body.
Finite sessions can produce measurable, context-dependent instances of this process. The universal Ω♥, however, is presented as formally uncomputable, drawing on fixed-point theory, Gödelian incompleteness, and Chaitin’s Ω. Love Is an Open Serial Port (Lutschinger 2025), in which ESP32 microcontrollers transmit embodied arousal to a real-time TouchDesigner environment, provides a material instantiation.
The talk connects this model to Lacanian sexuation and jouissance, framing erotic experience as recursive excess rather than resolution. Experience itself becomes interface: formally describable and operationally instantiated, yet never fully computed.
Proving Humanness: Digital Sex Work Under the Verification Regime
by Anna Ivanova
How far are we from full automation and corporatisation of sex work? Do the clients actually
need humans, or do they need an excess of instantly available options? Fanvue, OnlyFans's AI-friendly competitor, welcomes fully synthetic creators as a verified category. Every account is KYC-verified to a human, but that human need not be the person you see, hear, or sext with. Avatar, voice, chat, and content can be AI-generated. 404 Media calls it "AI pimping." Drawing on a walkthrough of Fanvue and interviews with adult content creators,
this talk maps a new access-control regime for intimacy: a platform that verifies everything and lets you determine nothing. The single "AI-generated or enhanced" label collapses synthetic personas and enhanced humans into one category, while deepfakes (an AI face on a real body) count as "real." And whereas synthetic creators get realness for free, human workers inherit a new burden of proof: performing humanness for fans who simultaneously demand 24/7, bot-like availability no human can sustain. What is denied here is the worker's ability to be legibly human. Access granted to everything; determinability denied.
What's yr real name?
by Viola V
A personal argument for pleasure in the confusion of boundaries—real, online, flesh, digital, desire, work, memoir, theory—in the cyborg era. Sex workers have always been expected to manufacture intimacy and prove themselves Real—but what is Real when a distinct part of you exists in purely digital form? In 2026, most sex workers are cyborgs—but so is everyone else.
Move Your Ass – Your Body is an Instrument
by Lars* Kollros
Dance and music normally follow a clear order: the music sets the beat, and the body follows. Most sex toys are similarly one-directional, stimulating the user without receiving feedback from the body. More advanced devices may offer remote or Bluetooth control, but the flow still runs from machine to human.
Move Your Ass uses a DIY, open-source system of low-cost sensors to create feedback channels from the stimulated body. Position, acceleration, pressure, and temperature can trigger another toy and stimulate another person in real time.
Instead of simply transmitting data from one person to another, the data stream can also generate video and audio signals. Sounds and beats respond directly to physical values from the sex toy: move your butt, and the music follows. The project opens a feedback loop between body, machine, sound, and stimulation, turning the body itself into an instrument.
Speculative Orgasms
by Saumil Bhandari
Speculative Orgasms repositions orgasm as a primordial technology: an ancient, wordless
choreography through which bodies negotiate meaning with the cosmos. Drawing on tantric,
somaesthetic, and post-digital lineages, this research asks how erotic energy can be
steered—rather than merely discharged—toward therapeutic, creative, and planetary ends.
A central case study extends this inquiry into Chamet, a monetized video-chat platform where sustained, unresolved arousal is structurally identical to the project's own method, except weaponized for extraction rather than liberation. A decade of self-directed practice collides here with sex-capitalism's own logic, producing an unresolved finding: does redirecting desire liberate it, or does the platform simply hack the same mechanism for profit? Following the project's method of auto-ethnographic listening over algorithmic quantification, the workshop presents diary-based testimony, an AI-generated short film composed from personal archival images, and platform analysis as evidence—provocation rather than answer.
Prompt Denied
by Sabrina Verhage
Generative AI is rapidly changing how images, bodies, fantasies, and pleasure technologies are designed and perceived. In this workshop, participants learn the basics of artificial intelligence and experiment with custom-made tools through hands-on exploration. Together, the group examines how algorithms shape sexual imagery, bodies, and desires, and reflects on bias, representation, and the future of sex tech. The session focuses on experimentation and discussion rather than advanced technical training. It is beginner-friendly and requires no technical skills. Participants are welcome to bring a laptop, but this is optional. Sexuality is discussed in a critical context rather than through explicit content.
Softness-as-a-Service: Writing the Standards for Intimate Technology
by Anna Ivanova
In this future, sex workers, queers, kinksters, and feminists set the terms of intimate technology: after the loneliness epidemic swept the world, they dethroned the tech bros and founded a coalition to make sure that whatever keeps people company at night is built gently and equitably. We are now members of Tenderware, providing Softness-as-a-Service, and nothing ships until it meets the standards we write. Working from practices these communities have long used to negotiate desire, boundaries, and care, we'll draft the standards for intimate technology together: how it may flirt and escalate, what it does with your secrets, how it handles jealousy, silence, 3 a.m. crises, and goodbyes, what care looks like after intensity, how much agreement is too much. No AI expertise or enthusiasm required — bring the knowledge you already have: how you negotiate a scene, read a room, and hold a person through something tender or intense without dropping them. A working prototype of Tenderware's onboarding is live here: https://nearbird.github.io/foreplay/
Tactile Pornography: An Analog Porn Network
by Lou Liska
Tactile Pornography is an analogue, decentralised porn network that operates without servers, screens, or cloud monitoring. It is also a speculative manifesto for an alternative definition of pornography, asking: What are the tools for erotic autonomy rather than erotic compliance? What would a decentralised porn infrastructure look like?
Participants take moulds of selected body parts using medical-grade silicone rubber. The level of intimacy is entirely self-determined; alternatively, the texture of an intimate object such as a fetish item or piece of jewellery can be chosen. The minutes spent waiting for the mould to set require stillness as a physical, decelerated proof-of-work.
The removed negative relief becomes an elastic, tactile form of pornography that reveals itself through touch rather than sight. Each relief is packed anonymously in a plain paper bag, preventing a visual preview, and exchanged peer-to-peer so that each participant receives an anonymous fragment belonging to someone else.
The result is an intimate, consensual, decentralised transmission that eludes algorithmic tracking, censorship, and digital permanence: a network that can be experienced tactilely, expanded, and slipped into a pocket while redefining pornography away from the image and toward touch.
A Seminar About Censorship
by AnimaeNoctis
A Seminar About Censorship is a short one-shot POV video from Massimo's point of view.
While having sex with Massimo, Silvia talks about her experience with censorship. As a porn performer and creator, her relationship to the subject is complicated: censorship is a major obstacle, but it can also function paradoxically as protection from being discovered too easily. Porn artists may face the risk of being identified by their families, for example. Censorship therefore becomes a painful oxymoron to negotiate. The video itself embodies the contradiction: art about what may deny art.
That’s Why I’m Doing Art
by ALFRED BOW feat. Maximilian Atteneder
In the performance video That’s Why I’m Doing Art, I deliberately employ the commercial format of the music video to convey poetic and philosophical ideas. The work approaches art as a path of inquiry—an evolutionary practice that challenges our capacity to believe in systems, truths, and laws for which there can never be definitive proof. Truth is understood not as a fixed state, but as an ongoing process of questioning.
The work begins with the desire for materiality and the cultural and social structures that shape this desire. Alongside art, queerness becomes a catalyst for questioning these structures. Queer bodies moving through the world become performances in themselves, creating cracks within seemingly stable systems of meaning and opening spaces for ambiguity, transformation, and new modes of perception.
In the final sequence, this journey culminates in a celebration of multiplicity, ambiguity, and interconnectedness. It recalls FKA twigs’ notion of Eusexua: an understanding of intimacy that extends beyond human sexuality toward a sensual relationship with the universe, the experience of suddenly finding oneself in the world, and an ethic of care. Art thus becomes a space where certainties dissolve and new possibilities of being can emerge.
Algorithmic Brushworks
by Hidéo SNES
Algorithmic Brushworks explores the topology of the unwanted and the denied by subverting surveillance infrastructure. Object-detection and pose-estimation models typically used for border control or content moderation are repurposed to serve intimacy rather than discipline. Visitors present a body part to a camera, offering ostensibly “safe” fragments such as a hand or knee. The system analyzes these inputs and generates neo-modern Shunga Ukiyo-e-style drawings: portraits not of the body itself, but of the machine’s imagination.
The work exists in the gap between the safe limb shown and the desired form drawn. Impossible geometries and other generative errors become part of the aesthetic, exposing the machine’s inability to comprehend human desire and producing a queer, non-normative topology of the body. The system projects excess onto safe input rather than denying it.
The output can take the form of live pen-plotter drawings, ephemeral projections, images on a monitor, or physical stickers. Visitors become co-conspirators in a process that turns passive observation into bodily negotiation and tests the limits and biases of automated visual recognition. By misusing control systems for poetic ends, Algorithmic Brushworks reclaims technical infrastructure for erotic abstraction and social critique.
StimSuit
by Eric Singer, Tracy Gilman, Sherry Smith and Aysu Unal
Slip into something a little more... stimulating. Put on the StimSuit, hand the controls to your trusted others, and let them stimulate you magically through thin air! Why have one vibrator when you can have forty-six?
XXX Machina
by Erin Robinson
XXX Machina is an immersive computational installation examining how artificial intelligence destabilises erotic desire, identity, and intimacy. Operating as an "autonomous desire machine," it generates a recursive stream of deepfake imagery, videos, stills, and 3D renderings of the artist, via diffusion models trained on a custom dataset scraped from AI porn generation platforms. As it tracks and reprocesses recurring themes across prompts, XXX Machina injects traces of previous bodies into its own generative logic, forming unstable visual lineages. What initially resembles conventional pornography begins to fracture on closer inspection: bodies glitch, fragment, and recombine, detaching from coherent corporeal referents and becoming increasingly uncanny.
Philosophically, XXX Machina explores the tension between symbolic lack and algorithmic saturation. Lacan's model of desire, grounded in absence, is destabilised by AI's potential for frictionless gratification—pornography without search, without delay. Yet AI, lacking subjective interiority, offers not desire but its disarticulated residue: warped anatomies, symbolic breakdowns, fragments without bodies. Through this collapse, the work probes whether desire itself is being reshaped by machinic fantasy.
Through a Baudrillardian lens, the installation examines how synthetic imagery precedes and redefines erotic experience, recursively producing desire instead of just mirroring it. In this hyperreal terrain, the erotic is unmoored from flesh and reassembled as an endlessly customisable, algorithmically amplified spectacle. XXX Machina asks what becomes of longing in a system where the Other has already been simulated, and made obsolete.
Documentary Fetish
by Eric Coombs Esmail & Edem Dotse
This multimedia artwork reframes the ‘fact’ as a documentary fetish, rather than the evidentiary basis for accurate reportage or worldbuilding. With examples from Ghanaian media artist Edem Dotse’s religious horror performance Supplication (2025) to Lorentzon and Bell’s documentary Graphic Sexual Horror (2009), the fact is revealed to have always been a fetish, a spell, and an animating communion with the profane. Rather than what psychologist Dori Laub called a “foreclosure through facts”, circumventing human experience, the fact, here, is repositioned as an erotic, plastic, and spiritual opening that forms the basis for documentary value. The documentary fetishist is an idolatrous pornographer of experience, deifying the object, body part, activity, or concept to simultaneously repress and express desire and intention. This work traces the colonial and patriarchal origins of the fetish as a term (De Brosses, Pietz, etc.) and deploys decolonial and feminist reflections (Engmann, Chun, etc.) as well as other interventions (Wilde, Latour, etc.) to articulate an alternative conception of facticity that provides fuel for both domination and defiance. The magical objects we call facts govern desire and produce forms of social control that foreclose experience through seemingly forensic reasoning. However, when discussed alongside works of technomystic performance art and docuporn, they reveal their true form as documentary fetish.
SONIC GLORYHOLE (speculative sex/sublimation toy)
by Saumil Bhandari
Sonic Gloryhole is a somatic sonic vibrator reimagined as an acoustic gloryhole—a chamber for anonymous, disembodied pleasure exchange. The piece directly inherits the lineage of the first automated vibrator, a Victorian-era medical device invented to treat "hysteria," a diagnosis historically weaponized to pathologize and manage women's sexual and emotional excess. By rebuilding this disciplinary technology as a sound-based, participatory structure, the work exposes how pleasure technologies have always been entangled with medical control, diagnosis, and shame.
Whisper Protocol - How can desire survive translation?
by Sabrina Verhage
Whisper Protocol is an interactive sound installation exploring whether an AI can translate sensuality rather than language. Visitors anonymously record a fantasy, confession, or intimate thought. Instead of transcribing or reproducing it, an AI transforms each recording into an abstract vocal composition, preserving breath, rhythm, hesitation, and emotional tone while dissolving semantic meaning. The resulting archive can be explored inside a listening booth, where visitors encounter a growing collection of translated whispers. Each voice feels intimate, yet none can be fully understood. As AI increasingly mediates intimacy, Whisper Protocol asks: Can a machine preserve desire? Can an algorithm optimize for desire rather than information? Can censorship produce a sensual language? What remains when words disappear, but intimacy is still heard?
Ω♥: Formal Limits of Desire
by Stefan Lutschinger
Ω♥ (Omega Eros) develops a systems-theoretical account of technologically mediated sexuality through the concept of the erotic feedback constant. Extending Love Is an Open Serial Port, the project models arousal not as a linear sequence of excitation and release, but as a recursive process in which embodied states are sensed, encoded, represented and reintroduced into experience. The work situates this recursion within the history of cybernetics, software studies and mathematical limits. Drawing on fixed-point theory, Gödelian incompleteness and Chaitin’s Ω, it distinguishes between finite, measurable instances of erotic feedback and a universal structure that remains uncomputable in principle. Ω♥ is therefore not proposed as an empirical constant, but as a formal and symbolic device for thinking about desire under conditions of technical mediation. In relation to Excess Denied, the project argues that contemporary systems of moderation, classification and access control depend on the assumption that sexuality can be rendered legible to computation. Recursive desire exposes the limits of this assumption. What exceeds these systems is not simply prohibited content, but forms of experience that resist stable categorisation, prediction and closure. Excess appears here as a problem of computability: formally describable, operationally instantiated, yet never fully resolved.
The "Ultimate" Kantian Consent Form
by ANONYMOUS ARTIST
1. Philosophical Level
This installation literalizes a genetic consent form via an automated border agent to tackle a
paradox: How can asylum admission (https://github.com/VoiceOfHumanityFoundation/42/blob/main/draft/asylum.txt ) comply with Kant's Categorical Imperative when antinatalism is mainstream? Complete freedom collapses genetic diversity; forced continuation mandates exploitation. The system's logical resolution denies entry to living bodies entirely, permitting only genetic material uploads. The human body is rejected as an "excessive" liability, reducing future intimacy to a sanitized data deposit.
2. Conceptual Level
Framed as an Automated Frontier Help Desk, visitors act as Asylum Seekers negotiating
biological legacy with a Voice AI. Critiquing algorithmic body management, it processes genetic extraction as a blind "terms of service" agreement. Deep human drives like survival and reproduction are stripped of humanity, repackaged into a cold customer support ticket by an AI blind to the emotional weight of its demands.
3. Practical Level
Users face a static laptop prompting them to pick up a retro corded landline handset, forcing
acoustic isolation. The Voice-to-Voice AI, sounding clinical and overworked, is grounded in a
custom RAG database detailing the "Kantian Asylum Continuity Code." It argues that refusing donation is "systemic hostility" and physical separation is an "optimization patch."
OINK!
by Evelio Moreno
Prohibition is the ultimate tool of control, designed to keep what is forbidden in the hands of
those holding the keys to power. As an artist, I have faced constant algorithmic censorship:
Instagram once banned a sculpture of mine made of newspaper, mistaking paper for a real
nude, while hyper-sexualized, fake-wholesome content easily bypasses the censors for
corporate profit. The film exposes this double standard. Utilizing a raw, ’90s MTV-style hand-drawn aesthetic set to my own heavy electronic music, the project twists "The Three Little Pigs" into a grotesque nightmare. In a dark nightclub, a voluptuous woman dances, surrounded by three predatory pigs in tailored CEO suits. When they touch her, she tears off her dress, mutates into a ferocious wolf, and unleashes a bloodbath on the dancefloor. This piece is a visceral reaction to digital hypocrisy. While networks freely broadcast despair, violence, and war, the artistic body is strictly policed. This censorship is not moral; it is financial. They hide the human body not to protect us, but to ensure that intimacy and flesh remain premium commodities monopolized by the algorithm.
absence/presence 7
by Maxin Krippner
absence/presence 7 is an ink drawing on canvas from an ongoing body of work exploring desire through daydreaming and connection. Trans bodies appear in moments of rest and calmness, asking who is considered desirable and who is allowed to experience pleasure. The work explores how pleasure and desire can be embodied through non-normative, altered, or extended bodies, and how body extensions can become temporary tools for pleasure or permanent parts of the body through which pleasure is experienced outside binary gender norms.
Against a society that often denies trans bodies desirability, the work uses a queer gaze centred on intimacy and tenderness. Pleasure is created through imagination and relation rather than staged for an external gaze. A lyrical text embedded in the drawings circles around the presence and absence of the dildo as a shifting site of desire, moving through the bodies as a boundary between what exists and what is absent.
absence/presence 7, ink on canvas, 180 cm x 70 cm, 2026
Tell me, what am I to you?
by Rica Fuentes Martinez
At the centre of Tell me, what am I to you? is an approximately 103 cm long crocheted object in the form of a clitoris, including the glans, shaft, and crura, mounted on two wooden vaginas. The object is equipped with microphone and video input and asks visitors the question: “Tell me, what am I to you?”
Their response and face are processed by an AI programmed by Hidéo SNES. The facial recognition system operates according to parameters derived from Western beauty ideals: the more closely a face corresponds to these parameters, the shorter the AI’s response becomes — up to complete refusal: “Excess Denied.” People who may receive more attention or recognition in everyday life because of their appearance are deliberately given less of it here.
The work reverses common forms of beauty privilege and asks about the social effects of self-optimisation, facial recognition, and standardised ideas of attractiveness. It also refers to the gender data gap surrounding the anatomy of the clitoris and raises the question of what happens when systems programmed by humans measure and evaluate beauty. AI remains fallible — and those errors become part of the work.
Button Mashing
by Cornpop Bright and Squareheart
A person is shown alone masturbating. Shots of the person alternate with close-ups of tactile buttons being pressed. The editing is tightly synchronized with the music and the sounds of the button presses. The cuts are fast, rhythmic, and repetitive, creating an almost trance-like momentum.
The film depicts the act itself in all its glory, but its focus is the internal feeling of being completely absorbed in it: being “in the zone,” in a kind of masturbation frenzy.
The film also grows out of a genuine love of tactile buttons—the physicality, resistance, click, and satisfaction of pressing them, especially compared with virtual buttons on a touchscreen.
Trans/Masc, (Serie5), #23, #25 and #26
by Offerus Ablinger
At the centre of my work is the human body as a political, social, and technological space of resonance: a living archive of social inscriptions and, at the same time, a projection surface for future forms of human existence.
The body does not appear as an autonomous, natural, or self-contained entity, but as an open and continuously changing configuration. Power, socialisation, memory, desire, and cultural values inscribe themselves onto it through family, language, class, gender, institutions, norms, and political systems, shaping ideas of identity, normality, and belonging.
*Trans/Masc, (Serie5), #26*, 2025, oil and acrylic on canvas, 100 × 70 cm
*Trans/Masc, (Serie5), #25*, 2025, oil and acrylic on canvas, 100 × 70 cm
*Trans/Masc, (Serie5), #23*, 2023, oil and acrylic on canvas, 100 × 70 cm
FLUID RATIONING
by Federico Niccolai
FLUID RATIONING draws on “algospeak,” algorithmic resistance, and Glitch Feminism to examine the aesthetic and formal value of artistic self-censorship. Rather than trying to solve censorship or offer a foolproof method for bypassing it, the work focuses on what happens to erotic imagery when it is repeatedly transformed in order to remain publishable.
Presented as either an offline application or a video installation with an interactive component, the work asks spectators to judge a sequence of pornographic images and videos that have been filtered and censored in different ways to comply with Meta’s community guidelines. Drawing on ideas from In Defense of the Poor Image, the material is manipulated in TouchDesigner until its original erotic content becomes unstable.
The central question is not whether a surveillance algorithm can be deceived, but how much viewers still recognise themselves in—and feel attraction toward—what remains. How much eros is sacrificed for the sake of publication? At what point does the attempt to defeat censorship strip the image of the desire that made it worth defending? FLUID RATIONING treats these compromises as an aesthetic field in their own right, asking how moderation systems may be reshaping what we find attractive.
The Desire of Matter
by Aleksandr Smetanka
The Desire of Matter is a moving-image presentation of synthetic organic forms at the threshold of body, ornament and apparition. The works circulate widely online — more than 60 million views and 30 million viewers organically in four months — while platforms, filters and “community standards” keep policing bodily excess. Generative systems are the method; the subject is desire, access and refusal. What looks like an organism one second becomes ornament, then flesh, then something a classifier cannot name. A curated set of short finished loops presents erotic material that platforms treat as a moderation problem rather than as art or fantasy.
Urban Vibrations
by Carina Papouschek
Urban Vibrations is a participatory media-art installation that transforms the invisible electromagnetic signals of the city—Wi-Fi, mobile networks, radio, and other transmissions—into immersive audiovisual and haptic experiences. Through antennas, sound, light, and touch, participants experience the city’s constant flow of communication through their bodies. Exploring intimacy, technology, resonance, and vulnerability, the work invites us to sense the urban environment as a living network of invisible vibrations.
Wetware
by Alessandro Amaducci
Three cyborg couples enter a newly opened building: the Human Museum. They are confronted with exhibits of humanity: statues of intertwined bodies, anatomical information, and educational films, reacting emotionally with astonishment, confusion, fear, and curiosity toward the objects in the exhibit. In an inevitable process of machine learning, the six protagonists change during their visit, learning to simulate the rules of arousal and attraction. The pairs are not just the juxtaposition of two cyborgs. Can the machines ever feel what their bodies skillfully mimic: desire?
Wetware, 4K, 2024, 6’27’’
Video and music: Alessandro Amaducci
The Stage of Flesh
by Alessandro Amaducci
Long ago sexuality, eroticism and pleasure were declared illegal. A resistance movement was created that clandestinely made digital films to recover the memory of lost senses. They were created with the first text-to-video generation algorithms, struggling with linguistic censorship that limited their operation. They circulated in secret form: most were discovered and destroyed, and their authors eliminated. A small archive survived in the form of partially restored fragments. These digital films represent the survival of the concept of eroticism and humanity, and direct testimony to a very dark period in our history. The following show contains scenes of nudity that some viewers may find disturbing. Viewer discretion is advised.
The Stage of Flesh, 4K, 2024, 7’30’’
Video and music: Alessandro Amaducci
where are you MUTTER?
by Laura Schlagintweit
Pencil and acrylic on paper, 2026
A: "Can you hand me die Mutter?"
B: "It's righty-tighty, lefty-loosey, right?"
A: "You reckon my tools are sexy, and how do I even fit a condom over my space shuttle?"
Musings on wordplay and the interconnectedness of space, tools, and tools of sex.
Schwammerlbaron: Dyonisos cum
by Matthias Jaklitsch
Sexy machine that serves Gurkerlwasser mixed with ouzo in a sexual way (delicious)!
