https://adampeacock.co.uk ADAM PEACOCK Wed, 31 Dec 2025 11:01:36 +0000 https://adampeacock.co.uk en https://adampeacock.co.uk/About Tue, 03 May 2022 17:14:24 +0000 ADAM PEACOCK https://adampeacock.co.uk/About <img width="2880" height="1620" width_o="2880" height_o="1620" data-src="https://freight.cargo.site/t/original/i/ef87e945fc16cec104fe67af20e2aae4dd31f727eb81e0e1e5b6446ab740675c/PERFECTION--SPECULATION_NATASHA.jpg" data-mid="177416067" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/ef87e945fc16cec104fe67af20e2aae4dd31f727eb81e0e1e5b6446ab740675c/PERFECTION--SPECULATION_NATASHA.jpg" />PERFECTION / SPECULATION in conversation with Natasha Vita-More at the Vigeland Museum, OsloPhoto Katharina Gellein Viken &amp; Charles Kriel Adam Peacock is a research-led visual artist and body architect whose work focuses on how digital and algorithmic infrastructures shape identity, desire and behaviour within contemporary culture. Working across art, design and applied research contexts, his practice examines how algorithmic systems, platform economies and optimisation logics actively structure how identity is produced, performed and evaluated. Adam’s work is developed through exhibitions, cultural programmes and extended through strategic engagements, long-term collaborations, and commissioned research with cultural, academic, and commercial organisations. <img width="14038" height="10529" width_o="14038" height_o="10529" data-src="https://freight.cargo.site/t/original/i/6cfce55fd403ccf701e2782c91caedb2b0d2e09a0e00f507e61d3e55b45d1c5c/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PEACOCK-PORTRAIT_PHOTO-CREDIT-VELVINPEACOCK_RAM_02.jpg" data-mid="236667488" border="0" src="https://freight.cargo.site/w/1000/i/6cfce55fd403ccf701e2782c91caedb2b0d2e09a0e00f507e61d3e55b45d1c5c/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PEACOCK-PORTRAIT_PHOTO-CREDIT-VELVINPEACOCK_RAM_02.jpg" />THE VALIDATION JUNKY at RAM Gallery, Oslo Photo Mathilde Velvin ADAM PEACOCK BIOGRAPHY 2026 –&nbsp;540 words Adam Peacock is a research-led visual artist and body architect whose work examines how digital and algorithmic infrastructures shape identity, desire and behaviour within contemporary culture. Trained as an architect at the Bartlett School of Architecture at UCL, he completed an MA in Design Interactions at the Royal College of Art, where he developed the speculative research framework The Validation Junky. Initiated during this period and continuously expanded since, the project applies architectural systems thinking to the contemporary body, investigating how platform economies, AI-driven classification and optimisation logics produce new forms of subjectivity and social value. Key projects developed under his research lens include Machines for Automating Taste (commissioned by the Visible Futures Lab, SVA, New York City), which used designed artefacts and illustrations to explore how AI mechanisms might synthesise aesthetic sensibilities;&nbsp;GENETICS GYM&nbsp;(commissioned by the Fashion Space Gallery, UAL), which treated the body as a malleable interface for investigating the computational synthesis of genes and memes; and PERFECTION/SPECULATION, a collaboration with PRAKSIS Oslo, the Vigeland Museum, Karmaklubb* and interlocutors from MIT, CUNY and SCI-Arc, convening international discourse around biotechnologies, new media, constructs of beauty and enhancement culture. His work has been exhibited and presented internationally, including with Tecnológico de Monterrey, Trinity College Dublin, Science Gallery Melbourne, Product Innovation Apparel Milan, FASHIONCLASH Maastricht, and the Royal Scottish Academy Edinburgh. His research has been recognised with awards and honours, including the Lumen Prize, S+T+ARTS at Ars Electronica, and the Robert Garland Treseder Fellowship at the University of Melbourne, featured by the BBC, The Irish Times, Art Guide Australia, and published by Bloomsbury Academic.&nbsp; Parallel to his practice, Adam has held visiting lectureships internationally at the Royal College of Art, Central Saint Martins, Southern California Institute of Architecture, London College of Fashion, Melbourne School of Design, and the School of International Art Beijing, guiding interdisciplinary students across architecture, fashion and speculative design to engage with technological futures critically. Alongside his artistic research practice, Adam applies speculative and systems-led thinking in strategic contexts, shaping narratives and identity frameworks across mobility, fashion, urban and technological futures. His work with AUDI, Stella McCartney, Accenture, the Science Gallery Network and Fiat Centro Stile translates cultural analysis into applied strategy for future-facing brands and organisations.&nbsp; Adam‘s early career in large-scale architectural practice informs this approach. He worked at Heatherwick Studio on the Azabudai Hills development in Tokyo, at Amanda Levete Architects on the V&amp;A Exhibition Road Quarter in London, and at WilkinsonEyre on CIBC Square in Toronto, before leading concept design strategy packages for NEOM in Saudi Arabia. Architecture provided a systems-based methodology that now underpins his research into technological culture. He is currently an ESRC-supported doctoral researcher in Visual Cultures at Goldsmiths, University of London. His PhD project, Toxic Queer Masculinities – Tools for Navigating AI-Integrated Subjectivity, examines how AI-driven platforms such as Grindr, Scruff and Instagram produce new formations of queer masculinity through data extraction, optimisation and algorithmic visibility. His doctoral research brings together visual culture, speculative design, computational methods and critical AI studies to develop both theoretical analysis and practice-based outputs.&nbsp;Across exhibitions, research publications and strategic collaborations, Adam’s work translates critical research into material, visual and organisational forms, uncovering and visualising the infrastructures that shape contemporary identity. https://adampeacock.co.uk/CONTEXTS Sun, 28 Dec 2025 23:50:35 +0000 ADAM PEACOCK https://adampeacock.co.uk/CONTEXTS Selected contexts listed reflect long-term engagements, invited roles, and research-informed contributions across cultural, academic, and applied domainsUniversities, Schools &amp; Teaching ContextsRoyal College of Art, LondonGoldsmiths, University of LondonCentral Saint Martins, University of the Arts London (UAL)Bartlett School of Architecture, University College London (UCL) London College of Fashion, University of the Arts London (UAL) Winchester School of Art, University of SouthamptonProsjektskolen Kunstskole, Oslo Liverpool John Moores University, UKMelbourne School of Design, University of MelbourneRhode Island School of Design (RISD)School of International Art (SIA), BeijingBeaconhouse National University, LahoreSouthern California Institute of Architecture (SCI-Arc), Los Angeles ArtCenter College of Design, Los AngelesSchool of Visual Arts (SVA), New York CityPratt Institute, New York CityArchitectural Association (AA), LondonBerghs School of Communication, StockholmResearch Centres, Labs &amp; Academic PlatformsGoldsmiths Computing Department (Critical AI Cluster)Digital Anthropology Lab, University of the Arts London (UAL)CUNY Cultural Analytics Lab (City University of New York) Digital Learning Lab, London College of Fashion, University of the Arts London (UAL)Massachusetts Institute of Technology, Department of Architecture – History, Theory and Criticism (MIT HTC)Goldsmiths Centre for Invention and Social Process (CISP)Norwegian University of Science and Technology, Trondheim (NTNU)BioArt Arena Norway (NOBA) Bioteknologirådet – The Norwegian Biotechnology Advisory BoardHenry Moore FoundationDepartment of Archaeology, Human Evolutionary Studies, University of CambridgeKreftforeningen (The Norwegian Cancer Society)Institute for Women’s Health, University College London (UCL) Cultural Institutions &amp; Exhibition Platforms PRAKSIS OsloVigeland Museum, OsloRAM Galleri, OsloSKOG Art Space, OsloKarmaklubb*, OsloScience Gallery NetworkScience Gallery Monterrey, Tecnológico de MonterreyScience Gallery Melbourne, University of Melbourne Science Gallery Dublin, Trinity College DublinArs Electronica, LinzRoyal Scottish Academy, EdinburghEast Street Arts, LeedsFashion Space Gallery, University of the Arts London (UAL)Visible Futures Lab, School of Visual Arts (SVA), New York City Commercial &amp; Applied Research Contexts Stella McCartneyAUDI AGFIAT / StellantisVolkswagen Group NEOMAccentureConverseLystWallpaper*P&amp;G Futures &amp; ForesightDiageo Innovation &amp; Cultural Futures Studios, Practices &amp; Platforms Heatherwick StudioWilkinsonEyreAmanda Levete Architects (AL_A)Anomaly New York City Anomaly London Benoy Handley House Another Tomorrow, StockholmSquint/Opera Festivals &amp; Public Programmes FASHIONCLASH, MaastrichtArtlogic ConnectArs Electronica FestivalLumen PrizeProduct Innovation Apparel, Milan An academic CV is available here A portfolio of selected industry projects is available on request https://adampeacock.co.uk/RESOURCES Wed, 31 Dec 2025 11:01:36 +0000 ADAM PEACOCK https://adampeacock.co.uk/RESOURCES Selected Theoretical Resources 2026 A curated selection of texts, projects, and references that inform recent lectures, research, and public programmes. These resources are intended as points of entry rather than exhaustive bibliographies. Bryant, T.D. (2022) ‘The experiences of undergraduate Black gay men who use hookup and dating apps while attending a predominantly White institution’. Theses and Dissertations, 2968. Rowan University. Available at: https://rdw.rowan.edu/etd/2968 Bucher, T. (2012) ‘Want to be on the top? Algorithmic power and the threat of invisibility on Facebook’, New Media &amp; Society, 14(7), pp. 1164–1180. Available at: https://doi.org/10.1177/1461444812440159. Chan, L.S., Cassidy, E. and Rosenberger, J.G. (2021) 'Mobile dating apps and racial preferencing insights: Exploring self-reported racial preferences and behavioural racial preferences among gay men using Jack’d', International Journal of Communication, 15, pp. 3928–3947. Available at: https://ijoc.org/index.php/ijoc/article/view/16730 Dev, S., Li, T. and Phillips, J. (2021) ‘Harms of Gender Exclusivity and Underrepresentation in Language Technologies’, Proceedings of the 2021 Conference on Empirical Methods in Natural Language Processing (EMNLP). Available at: https://aclanthology.org/2021.emnlp-main.150.pdf Downs, A. (2005) ‘The Velvet Rage: Overcoming the Pain of Growing Up Gay in a Straight Man's World’. Cambridge, MA: Da Capo Lifelong Books. Dunne, A. and Raby, F. (2013) Speculative Everything: Design, Fiction, and Social Dreaming. Cambridge, MA: MIT Press. European Union Agency for Fundamental Rights (FRA). (2022) ‘LGBTIQ equality strategy 2020–2025: Tackling discrimination in the digital era’. Available at: https://fra.europa.eu Florêncio, J. (2021) 'Chemsex Cultures: Subcultural Reproduction and Queer Survival', Sexualities, 26(5–6), pp. 556–573. Available at: https://doi.org/10.1177/1363460720986922. Hakim, J. (2019) Work That Body: Male Bodies in Digital Culture. London: Rowman &amp; Littlefield International. ISBN: 9781786604415. Haraway, D. (1985) A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century. Socialist Review, 80, pp. 65–108. Jarzombek, M. (2016) Digital Stockholm Syndrome in the Post-Ontological Age. Minneapolis: University of Minnesota Press. McGlotten, S. (2013) Virtual Intimacies: Media, Affect, and Queer Sociality. Albany, NY: State University of New York Press. ISBN: 9781438448770. Møller, K. (2020) 'Hanging, Blowing, Slamming, and Playing: Erotic Control and Overflow in a Digital Chemsex Scene', Sexualities, 23(8), pp. 909–925. Available at: https://doi.org/10.1177/1363460720964100. Nieborg, D. and Poell, T. (2018) 'The Platformization of Cultural Production: Theorizing the Contingent Cultural Commodity', New Media &amp; Society, 20(11), pp. 4275–4292. Available at: https://doi.org/10.1177/1461444818769694. Rosamond, E. (2023) ‘YouTube Personalities as Infrastructure: The Assetisation of Identity in Social Media Logic’, Culture Machine, 19(1). Available at: http://culturemachine.net/vol-19-2018-the-infrastructure-of-identity/youtube-personalities-as-infrastructure/ Vita-More, N. (1983) Transhumanist Manifesto. Available at: https://www.humanityplus.org/the-transhumanist-manifesto. Wark, S. (2017) 'Correlating Race: On Machine Learning and Digital Culture', University of Warwick. Available at: https://warwick.ac.uk/fac/cross_fac/cim/events/researchforum McQuillan, D. (2022) Resisting AI: An Anti-fascist Approach to Artificial Intelligence. Bristol: Bristol University Press. https://adampeacock.co.uk/CV Wed, 14 Aug 2024 09:36:19 +0000 ADAM PEACOCK https://adampeacock.co.uk/CV ACADEMIC CV – ADAM PEACOCK 2026 Research Profile Research focuses on algorithmic identity and cultural infrastructures, using art, design, and speculative frameworks to examine how optimisation systems shape identity, value, and behaviour across cultural and applied contexts. Education – PhD Visual Cultures (2024–ongoing), Goldsmiths, University of London, UK. – MA Design Interactions (2012–14), Royal College of Art (RCA), London, UK. – BSc (Hons) Architecture (2007–11), The Bartlett School of Architecture, University College London (UCL), UK. – Foundation Diploma in Art &amp; Architecture (2006–07), Central Saint Martins, University of the Arts London (UAL), UK. Selected Academic Positions – Visiting Professor (2020-24), School of International Art (SIA), Beijing, China, Leading the Future of Fashion, Identity and the Post-Internet Concept Masterclass Series for MA Fashion. – Visiting Lecturer (2016-20), Royal College of Art, London, UK, Taught across MA Fashion Menswear, Womenswear, and FAME (Footwear Accessories Millinery Eyewear) programs.– Associate Lecturer (2016-20), London College of Fashion, University of the Arts London, UK, Leading the Speculative Prototyping unit for MA Fashion Futures. – Studio Co-Leader (2018-19), Melbourne School of Design, University of Melbourne, Australia, Co-led the M.Arch Architecture: Studio13, Architecture-Fashion lab, ‘The DNA of Perfection,’ as a component of the awarded 2018 Robert Garland Treseder Fellowship. Selected Lectures &amp; Keynotes&nbsp; – Lecture (2025), Royal College of Art, London, UK. For Dr Gareth Polmeer’s MFA Arts &amp; Humanities, Synthetic Encounters Elective, a lecture called ‘THE VALIDATION JUNKY — Tools for navigating AI-mediated subjectivity’. –&nbsp;Lecture (2025), for PRAKSIS, Oslo, Norway. Delivered a lecture as part of Residency 29, For real?, in conversation with Harold Offeh, Head of Programme in MA Contemporary Art Practice (CAP) at the Royal College of Art, discussing AI, identity, and authenticity within contemporary practice. – Lecture (2025), Winchester School of Art, the University of Southampton, UK. Delivered a lecture, “The Validation Junky: Who’s shaping your identity, and how much of it is actually yours,” invited by Dr Shaun Cole, Associate Professor in Fashion at the University of Southampton, as part of the Fashion and Textiles Research Seminar series. – Lecture (2024), Royal College of Art, London, UK. Delivered a lecture titled “Shapeshifting the Digital,” exploring identity construction, speculative design, and the commodification of post-ontological identity systems for Dr Gareth Polmeer’s cross-RCA class at the School of Arts and Humanities.– Lecture (2023), Prosjektskolen Kunstskole, Oslo, Norway, Delivered a lecture on sci-fi and video art for Kjersti Vetterstad and Michael Hare’s ‘No maps for these territories’ class.– Lecture (2023), RAM Gallery, Oslo, Norway, Presented research and new works from the PERFECTION/SPECULATION residency, exploring themes of identity, new media and biodesign within contemporary body politics in contemporary art, referencing the VALIDERINGSSØPPELET drawing.– Luminary Lecture (2020), THE VALIDATION JUNKY,&nbsp;Liverpool John Moores University, Liverpool, UK, delivered remotely due to COVID-19, invited by Andrew Ibi, Programme Leader, BA Fashion: Design &amp; Communication.– Lecture (2020), Beaconhouse National University, Lahore, Pakistan, Delivered a remote lecture on speculative design within the future of identity for&nbsp;the GENETICS GYM project as part of the ‘Global Classroom’ series.– Lecture (2019), THE VALIDATION JUNKY,&nbsp;ArtCentre College of Design, Los Angeles, USA, invited by Benjamin Hooker,&nbsp;Adjunct Associate Professor, Graduate Media Design at ArtCentre.&nbsp;– Lecture (2019), THE VALIDATION JUNKY,&nbsp;Southern California Institute of Architecture (SCI-Arc), Los Angeles, USA,&nbsp;invited by Lucy McRae. – Lecture (2019), THE VALIDATION JUNKY, MA Fashion, Royal College of Art, London, UK, invited by Zowie Broach, Head of Programme: MA Fashion at the RCA, alongside Andrew Ibi and Philip Delamore.&nbsp;– Lecture (2019), Science Gallery Dublin, Trinity College Dublin, Ireland, Explored the ethical implications of genetic engineering in the context of design, visual culture and consumer behaviour, as part of the PERFECTION exhibition.– Lecture (2019), Cocoon Global, London, UK: Spoke on the potential for international collaboration between China and the UK in the fashion tech sector, focusing on how technology is reshaping the global fashion industry.– Opening Keynote (2018), Product Innovation Apparel, Milan, Italy, Delivered the keynote address discussing the potential of AI and genetic technology in understanding consumer behaviour within expanded fashion business practices.– Lecture (2018), Melbourne School of Design, University of Melbourne, Australia, Treseder Lecture: THE VALIDATION JUNKY - Treseder Lecture, as part of the awarded 2018 Robert Garland Treseder Fellowship.– Lecture (2018), Melbourne School of Design, University of Melbourne, Australia, discussion on design curation and the future of trans-disciplinary architectural practice, with Prof. Alan Pert,&nbsp;Deputy Dean of the MSD, as part of the awarded 2018 Robert Garland Treseder Fellowship.– Lecture (2018), THE VALIDATION JUNKY,&nbsp;Fashion Clash Festival, Maastricht, Netherlands, Delivered a lecture discussing the value systems within fashion, focusing on how emerging technologies are challenging traditional systems within fashion.– Lecture (2017), GENETICS GYM,&nbsp;Fashion Space Gallery, London College of Fashion, UK.– Lecture (2016), GENETICS GYM,&nbsp;London College of Fashion, UK, Delivered lectures for MA Psychology for Fashion Professionals and MSc Applied Psychology in Fashion, exploring the psychological impact of new media on consumer behaviour.– Lecture (2016), GENETICS GYM,&nbsp;UCL / UCH Centre for Human Reproduction, London, UK, Spoke on the ethical implications of the cognition of genetics within consumer psychology applied to fashion and status systems, as part of the MSc Prenatal Genetics and Foetal Medicine program. – Collaborative Unit Mentor (2016), Digital Anthropology Lab, London College of Fashion, University of the Arts London, UK.– Lecture (2016), THE VALIDATION JUNKY,&nbsp;Berghs School of Communication, Stockholm, Sweden. Delivered a lecture as part of an intensive two-day workshop and lecture series in London titled ‘Action for Innovation’, focusing on the role of speculative design in new media, communication strategies, and consumer psychology. – Artist Presentation (2016), MACHINES TO AUTOMATE TASTE,&nbsp;Visible Futures Lab, School of Visual Arts, New York City, USA. Presented work developed during the residency, discussing the intersection of AI, automation, and design.– Lecture (2016), Artist-in-Residence presentation, Visible Futures Lab, School of Visual Arts, New York City, USA. Discussion of the practice-based and theoretical frameworks underpinning the residency project in development.– Lecture (2015), Royal College of Art, London, UK, ‘Talk draw, debate’; discussion on body politics, economic systems, and body design for MA Fashion Menswear, MA Fashion Womenswear, Royal College of Art, London, UK, invited by Zowie Broach, Head of Programme: MA Fashion at the RCA.&nbsp;– Guest Tutor (2014), Royal College of Art, London, UK, Tutorial and workshop for MA Fashion Womenswear Year 2, invited by&nbsp;Zowie Broach, Head of Programme: MA Fashion at the RCA.&nbsp;– Lecture (2014), THE VALIDATION JUNKY, MA Fashion, Royal College of Art, London, UK, invited by Zowie Broach, Head of Programme: MA Fashion at the RCA. –&nbsp;Guest Tutor (2014), MA Fashion Futures, London College of Fashion, UK, invited by Prof. Susan Postlethwaite, Course Leader, MA Fashion Futures.&nbsp;– Lecture (2014), THE VALIDATION JUNKY, MA Fashion Futures,&nbsp;London College of Fashion, UK, invited by Prof. Susan Postlethwaite, Course Leader, MA Fashion Futures. – Lecture (2014), THE VALIDATION JUNKY, Design Futures at 100% Design, London Design Festival ‘14, London, UK. Selected Awards – ESRC SENSS (2024-ongoing), UK&nbsp;Economic and Social Research Council, South and East Network for Social Sciences. Awarded full doctoral funding for research in Visual Cultures under the Digital Social Sciences pathway at Goldsmiths, University of London. – Lumen Prize Still Image Award Finalist (2024), with the VALIDERINGSSØPPELET project, Lumen Studios, London, UK. – Artist in Residence (2022-23), Convention House Art &amp; Technology Residency, East Street Arts, Leeds, UK. – Lead Resident, PERFECTION / SPECULATION, (2020-21) PRAKSIS, Oslo, Norway, in collaboration with The Vigeland Museum and Karmaklubb*. – Nominated for 2021 S+T+ARTS Prize (2021), with the GENETICS GYM project. Ars Electronica, Linz, Austria. – 2018 Robert Garland Treseder Fellowship (2018), Melbourne School of Design, University of Melbourne, Australia.&nbsp;– 2016 Designer in Residence (2016-17), Fashion Space Gallery, London College of Fashion, University of the Arts, UK. – Artist in Residence (2015-16), Visible Futures Lab, School of Visual Arts, New York City, USA. – FIAT Interaction Design Award (2013), Lorenzo Ramaciotti FIAT/Chrysler Automobiles (now Stellantis), Royal College of Art &amp; FIAT Centro Stile Torino, UK &amp; Italy. &nbsp;– Bursary Award, Design Interactions (2012-14), Royal College of Art, London, UK.&nbsp; Selected Solo Exhibitions – RESISTING OPTIMISATION (2026), SKOG Art Space, Oslo, Norway. – THE VALIDATION JUNKY (2023), RAM Gallery, Oslo, Norway.– GENETICS GYM (2017), Fashion Space Gallery, London College of Fashion, University of the Arts London, UK.– MACHINES FOR AUTOMATING TASTE (2016), Visible Futures Lab, NYC, USA. Selected Group Exhibitions – Lines of Flight (2026), BLEUR Gallery, London, UK. – 197th RSA Annual Exhibition (2023), ’WE ARE WHAT THE INTERNET MAKES US - I’, Royal Scottish Academy, Edinburgh, Scotland.– ZONA MACO 2023 (2023), ’WE ARE WHAT THE INTERNET MAKES US - I, II, III, IV &amp; V’, YAM Gallery for Zona Maco, México City, México.– JUMPSTART (2022-23), GENETICS GYM, Tecnológico de Monterrey, México.– PERFECTION / SPECULATION (2021), GENETICS GYM, The Vigeland Museum, Oslo, Norway.– PERFECTION (2019), GENETICS GYM, Science Gallery Dublin, Ireland.– PERFECTION: Part Experiment / Part Exhibition (2018), GENETICS GYM, Science Gallery Melbourne, Australia.– Disobey / Dystopia (2017), GENETICS GYM, The Yard, Hackney Wick, London, UK.– Technophilia and The Corrupt Body (2015), THE VALIDATION JUNKY, Menier Gallery, London, UK.– Freed From Desire (2014), THE VALIDATION JUNKY, Gallery 223, London, UK.– Buy Buy Buy Put It Down (2014), THE VALIDATION JUNKY, Royal College of Art, ICON Design Trail, London Design Festival, UK.– Next Brave New World (2014), THE VALIDATION JUNKY, Arebyte Gallery, Hackney Wick, London, UK.– RCA Show 2014 (2014), THE VALIDATION JUNKY, Henry Moore Gallery, Royal College of Art, London, UK.– Work-In-Progress (2014), THE VALIDATION JUNKY, Henry Moore Gallery, Royal College of Art, London, UK.– Sorapol S/S13 Immortal (2013), Designed, crafted and fabricated a structural artefact that embellished a custom jacket for the Sorapol S/S13 “Immortal” couture collection, shown at London Fashion Week 2013. Affiliations &amp; Invited Academic Engagements – Design Critic (2023), MFA Media Design Practices, ArtCenter College of Design, Los Angeles, USA.– Design Critic (2021-22), M.Arch Unit 22, Bartlett School of Architecture, UCL, London, UK.– Design Critic (2021), BA Industrial Design, Rhode Island School of Design (RISD), Providence, USA.– Design Critic (2020), BA, MA Fashion, School of International Art, Beijing, China.– Design Critic (2019), M.Arch Unit 22, Bartlett School of Architecture, UCL, London, UK. – Design Critic (2019), Lucy McRae Vertical Studio, Southern California Institute of Architecture (SCI-Arc), Los Angeles, USA. – Design Critic (2019), MFA Media Design Practices, ArtCentre College of Design, Los Angeles, USA.– Design Critic (2018), M.Arch Unit 22, Bartlett School of Architecture, UCL, London, UK.– Design Critic (2018), Inter-One, Architectural Association, London, UK.– Design Critic (2016), BA Architecture, Central Saint Martins, London, UK.– Design Critic (2016), Foundation Architecture, Architectural Association, London, UK.– Design Critic (2015), BFA Interior Architecture, Pratt Institute, New York City, USA.– Design Critic (2014), MA Fashion Womenswear, Royal College of Art, London, UK. Selected Panel Discussions – More-than-Human Aesthetics: Social Science and Design Futures, Beyond the Bifurcation of Nature (2026), Goldsmiths, University of London, UK, Panel conversation with Alex Wilkie,&nbsp;Professor of Design and Director of the Centre for Invention and Social Process&nbsp;(CISP), hosted by the Department of Sociology at Goldsmiths, and Sarah Kilkenny, Goldsmiths. – The Future of Identity (2023), RAM Gallery, Oslo, Norway, Panel discussion with Senior Curator of Contemporary Art at MUNCH, Dr Tominga O’Donnell, Tine Semb, co-editor of Billedkunst art journal and founder of queer discursive platform and club concept, Karmaklubb*, exploring the implications of digital technology on human identity and the evolving perception of self in the digital era.– PERFECTION / SPECULATION (2021), The Vigeland Museum, Oslo, Norway, Panel discussion with artist Bobby Shuk Pui Yu; Geir Haraldseth, Curator of Contemporary Art at the National Museum in Norway; Nicholas John Jones, Director of PRAKSIS; Tine Semb, Co-editor of Billedkunst art journal and founder of the queer discursive platform and club concept Karmaklubb*; and others. The conversation explored how advances in technology are reshaping societal ideals and the human quest for perfection, as part of the PRAKSIS Residency programme.–&nbsp;In Pursuit of Perfection (2019), Trinity College Dublin, Ireland, panel discussion with Prof. Gordon Wallace, Distinguished Professor at the Australian Institute for Innovative Materials, University of Wollongong, and Louise Allen, Director of the Creative Futures Academy, Ireland, exploring the ethical and societal impacts of emerging technologies in the pursuit of human perfection.– Creative Futures 5 - Fashion and Technology (2019), Engage Works Innovation Lab, East London.– The Fashion Dialogue: A Clash of Values, (2018) Fashion Clash Festival, Maastricht, Netherlands - discussion with Prof. José Teunissen, Dean of the School of Design and Technology at London College of Fashion, UAL; Dai Rees, Course Director of MA Fashion Artefact at London College of Fashion, UAL; and others, exploring conflicting ideologies and value systems within the fashion industry.– Creativity, Intuition, Process (2017) The Crypt Gallery, London, UK - discussion with Prof. Arthur I. Miller, Emeritus Professor of History and Philosophy of Science at UCL; Dr Max Reuter, Professor of Evolutionary Genetics at UCL; and Ben Murray. Curated by Neus Torres Tamarit.– Design, Draw, Debate (2016) Royal College of Art, London, UK - for MA Fashion Menswear, MA Fashion Womenswear, MA FAME, with Austin Milne, Lecturer in Creative Entrepreneurship at Goldsmiths, University of London.– Fashion Values (2016) Royal College of Art, London, UK - MA Fashion Menswear, MA Fashion Womenswear, MA FAME, with Andrew Ibi, Programme Leader BA Fashion: Design &amp; Communication at Liverpool John Moores University. Selected Interviews&nbsp; – Virtual Wine Tasting and Adam’s Queer London (2020), Melk Magazine, Oslo, Norway. – FASHION MADE: Genetics, Design and Marketing with Adam Peacock (2019), Product Innovation Apparel, London, UK.– In Conversation with Adam Peacock (2019), Inflection Journal Volume 06 - Originals, AADR Art Architecture Design Research, Melbourne School of Design, Australia.– Would you modify your genes? (2019), Science Gallery Dublin, Ireland.– How Emerging Tech Can Change the Fashion Industry in the Next Decade (2018), Product Innovation Apparel, Milan, Italy. – Challenges of designing in the future (2018), Product Innovation Apparel, Milan, Italy.– Upcoming Industry Challenges (2018), Product Innovation Apparel, Milan, Italy.– Could you edit your DNA to look hotter? (2018), BBC iPlayer, UK. Selected Catalogues – Who’s afraid of the Future? (2019), Science Gallery Dublin, Ireland.– PERFECTION: PART EXPERIMENT / PART EXHIBITION (2018), Science Gallery Melbourne, Australia.– Genetics &amp; AI: What Can We Now Learn About Our Consumers? (2018), Product Innovation Apparel, Milan.– The Fashion Dialogue: A Clash of Values (2018), Fashion Clash Festival 2018, Fashion My Religion, Maastricht, Netherlands.– Lag Simulator (2011), Unit 9, Bartlett School of Architecture, UCL Catalogue.– Floods / Excess (2010), Unit 6, Bartlett School of Architecture, UCL Catalogue. Selected Published Chapters &amp; Articles&nbsp; – PERFECTION / SPECULATION (2023), PRAKSIS Oslo, Norway, Researched, developed, and led conversations with Lev Manovich, Lucy McRae, Mark Jarzombek, and Natasha Vita-More, exploring the intersection of technology, identity, and the body in the context of platformisation and identity politics.– Beauty, Transhumanism &amp; The Disease of Ageing - PERFECTION / SPECULATION with Natasha Vita-More and Adam Peacock (2023), PRAKSIS Oslo, Norway, Led a conversation with Vita-More about concepts of beauty, the role of ego and the ethics of striving to overcome ageing. – The Post-Ontology, Blobby Architecture &amp; Homogenised Identities - PERFECTION / SPECULATION with Mark Jarzombek and Adam Peacock (2023), PRAKSIS Oslo, Norway, Led a conversation with Jarzombek to discuss the impacts of AI and design technology on perceptions of self, exploring tough correctives on questions of state and corporate surveillance and the struggle of ethics to keep pace with market-driven bio-technologies and data access. – New Media, Instagram &amp; Homogenisation - PERFECTION / SPECULATION with Lev Manovich and Adam Peacock (2023), PRAKSIS Oslo, Norway, Led a conversation with Manovich, reflecting on issues of autonomy and originality in relation to social media and the algorithmic mining of big data, exploring important contextual reflections on the history and evolution of information technologies and cultural analytics.– Body Architecture, Genetic Editing &amp; Self Transcendence - PERFECTION / SPECULATION with Lucy McRae and Adam Peacock (2023), PRAKSIS Oslo, Norway, Led a conversation with McRae, discussing what it means to be “human” in a science and technology-driven world, advocating for the role of art as a catalyst for experimental, open-ended approaches to the development of knowledge in this area.– Genetics Gym (2020), Crafting Anatomies: Archives, Dialogues, Fabrications, Chapter 12, Bloomsbury Academic Publishers, Contributed a chapter on the Genetics Gym project, discussing the intersection of genetics and fashion design, and the speculative possibilities of human enhancement.– Brain-Body-Society, The Validation Junky (2018), HIGGS, The Science Fashion Magazine, Issue 04, Graficas Andalusi S.L., Published an article exploring the relationship between brain, body, and society in the context of digital validation and the influence of emerging technologies on human behaviour.– A short guide to male portraiture in 2017 (2017), The Fine Print Magazine, Post-Truth World Issue, Issue 3, Logical Connections Ltd, Chertsey - This article explored the shifting representation of masculinity in portraiture within the context of the post-truth era. It highlighted how digital media and cultural changes are challenging traditional depictions of male identity. Selected Direction, Research, Development and Production of Public Programmes – Contemporary Art in the Age of AI (2025),&nbsp;Artlogic Connect ’25, London, UK,&nbsp;Curation and moderation of a panel discussion exploring how artificial intelligence is reshaping authorship, embodiment, and identity within contemporary art. Organised in collaboration with Artlogic, a provider of digital tools for the global art world, and featuring panellists Alison Gass, Executive Director and Chief Curator, Institute of Contemporary Art San Francisco; Natasha Vita-More, transhumanist artist and theorist; and Gretchen Andrew, artist working with computational desire and search engine hacking.– PERFECTION / SPECULATION at the Vigeland Museum (2020-23), The Vigeland Museum, Oslo, Norway, Directed and produced an evening exhibition and panel discussions with the outcomes of the PERFECTION / SPECULATION residency, featuring performances, video installations, and discussions on the themes of agency, identity, and ethics surrounding body-related technologies.– PERFECTION / SPECULATION in conversation (2020-21), PRAKSIS, Oslo, Norway, Led the research and production of a series of filmed dialogues with academics, artists and thinkers in the fields of bio-design, new media, and transhumanism. The project explored the intersections of identity, technology, and the future of the human body. Invited speakers include Prof. Lev Manovich, Presidential Professor at the Graduate Centre, City University of New York, and Founder and Director of the Cultural Analytics Lab; Lucy McRae, Science Fiction Artist, Filmmaker, Inventor and Body Architect, Visiting Professor at Southern California Institute of Architecture (SCI-Arc); Prof. Mark Jarzombek, Professor of the History and Theory of Architecture, Massachusetts Institute of Technology (MIT); and Dr Natasha Vita-More, Executive Director of Humanity+ Inc, Founder of H+ Lab, Author of the Transhumanist Manifesto, Designer of Primo Posthuman.– Designing Sex Symposium (2016), Fashion Space Gallery, London College of Fashion, UK. Organised and moderated a symposium on the intersection of genetics, fashion, and technology. The event featured expert panellists discussing the future of human modification and the ethical implications of emerging technologies. Speakers included Duncan Stephenson, Director of External Affairs at the Royal Society for Public Health; Prof. Joyce Harper, Professor in Human Genetics and Embryology at University College, London (UCL); Dr Helen C. O’Neill, Head of MSc. Women’s Health and Fertility at UCL; Dr Agi Haines, CogNovo Lab for Transtechnology Research, at Plymouth University; Dr Barry M. Jones, consultant plastic and reconstructive surgeon and Hunterian Professor at the Royal College of Surgeons of England; Henrique Mathias, founder and programmer of dating app Feeld, an app for ethical non‑monogamy, polyamory, kink, swinging, fetish, queer identities, and other non-traditional relationship models. The Fashion Space Gallery and Digital Anthropology Lab commissioned the symposium as a component of the 2016 Designer in Residence award at the Fashion Space Gallery, London College of Fashion, University of the Arts London, UK.Selected Studio Teaching (courses created and taught) – ‘Fashion, Digital Identity and the Post-Internet’ (2023-24), School of International Art, China, An eight-week Masterclass introducing students to critical and speculative design methods. The course explores the philosophical implications of future fashion in digital environments, encouraging students to develop future-facing design projects that address the challenges and opportunities of digital identity, such as gamevertising, NFT’s and digital skins. The class offers the chance to research, test, and explore the challenges and opportunities of various methods and practices, such as human-centred research. – ‘Future of Fashion Masterclass’ (2020-22), School of International Art, China, A seven-week Masterclass focusing on speculative design and future fashion research methods. Students engage in lectures and workshops exploring emerging fashion landscapes, communication techniques, and aesthetic research, culminating in self-directed projects that anticipate future trends.– ‘Speculative Prototyping’ (2016-20), MA Fashion Futures, London College of Fashion, UK, A twelve-week unit exploring the role of speculative design in contemporary identity. The course challenged students to strategise and advocate for future design scenarios, utilising emerging technologies and ideological perspectives.– ‘Speculative Architectures’ ‘The DNA of Perfection’ (2018-19), M.Arch Architecture, Melbourne School of Design, Australia, A research lab that introduces students to speculative design methodologies centred around the human body as an expanded architectural method. The course focuses on future world-building and supports students in developing reflective projects that explore new formats of architectural discourse. Selected Educational Workshops (created and taught) – Past / Present / Future - Digital Identity and the Post-Internet (2023), PRAKSIS Oslo, A workshop for youth aged 16-22, exploring how emerging technologies such as AI and genetic engineering will shape future identities. Participants create ‘future identity maps’ to examine the evolving role of technology in personal and societal identity expression.– Queer &amp; Northern Workshop (2022), East Street Arts, Leeds, UK, A workshop speculating on the future of queer identities in the North of England. The session investigates the influence of local culture, geography, and technology on identity and belonging, encouraging participants to imagine future scenarios.– Genetics Gym Workshop (2017), Fertility Fest 2018, London, UK, A speculative design workshop for young adults, focusing on the implications of applied future genetic technologies. The workshop engages participants in discussions on the ethical and ideological implications of these technologies, using speculative design as a research method.– Speculative Body Design Workshop (2016), Fashion Space Gallery, London College of Fashion, UK, A workshop for students from fashion design, psychology, and genetics, challenging them to explore speculative scenarios and future possibilities for human enhancement from MA Fashion Design Technology Womenswear, MSc. Applied Psychology in Fashion, MA Fashion Futures, MA Fashion Artefact at London College of Fashion and MSc. Prenatal Genetics and Foetal Medicine, MSc. Reproductive Science and Women’s Health at UCL / UCH Centre for Human Reproduction, University College London.– Mapping Aesthetic Design Intuition (2015), Visible Futures Lab, School of Visual Arts, NYC, USA, A workshop that integrates AI and automation into design practices. Participants use bespoke tools and props to explore the intersection of technology and aesthetics in product design.– Speculative Body Design Workshop (2015), Royal College of Art, London, UK, A day-long workshop introducing MA Fashion students to speculative design as a research methodology. – Informed Consumer Integrity Workshop (2015), London College of Fashion, UAL, UK, A half-day workshop that introduces students to speculative design as a method for investigating future consumer behaviours. Participants explore hypothetical scenarios and their relevance to fashion design, using speculative design to address ethical and ideological questions. https://adampeacock.co.uk/Contact Tue, 03 May 2022 17:14:20 +0000 ADAM PEACOCK https://adampeacock.co.uk/Contact Project enquiries,&nbsp;info[at]adampeacock.co.uk Sales &amp; limited editions enquiries,&nbsp;editions[at]adampeacock.co.uk Instagram,&nbsp;adam__peacock https://adampeacock.co.uk/RESISTING-OPTIMISATION-2026 Mon, 29 Sep 2025 11:59:36 +0000 ADAM PEACOCK https://adampeacock.co.uk/RESISTING-OPTIMISATION-2026 RESISTING OPTIMISATION OSLO, 2026 RESISTING OPTIMISATION is a series of sculptural drawings exploring how AI-driven platforms shape subjectivity in digital cultures. The project combines artistic research with critical design, looking at how AI platforms sort, filter, and rank individuals. These systems impact contemporary cultures and disproportionately affect marginalised individuals, since their needs were not considered when large language models (LLMs) were built. The project acts as a visual prompt to invite audiences to question how these systems shape contemporary subjectivity and perceived realities through subtle nudging and market-driven pressures. The project develops an abstracted aesthetic language that visualises the vectors in AI LLMs, currently in their trillions (2026 ChatGPT era 5.5), through a bespoke computational modelling workflow. This workflow is then plugged into a modelled human torso, creating body-derived geometry that is then fine-tuned manually with parametric nodes and constrained within a volume. The drawings are made through a combination of an X-Y drawing machine and (human) hand. This process layers oil paint on bright-annealed stainless steel, with the reflective surface mirroring the viewer, placing the observer’s body inside the visualised AI LLM. The desaturated metallic colours suggest the cold, hard quality of a machine that measures, sorts and ranks the soft warmth of (human) individuals. The project contributes to dialogue between artists, technologists and the public on what it might mean to develop tools that allow platform users to navigate, interrupt – or maybe even resist – the gamified logic of algorithmic optimisation, engaging with platform cultures with greater agency and authenticity. Keywords - Human-centred AI, Queer Machines, Algorithmic transparency, AI Infrastructures, Platform Economies, Algorithmic Bias, Digital Subjectivities, Human–Machine Collaboration, Speculative Design, Critical AI <img width="2187" height="3106" width_o="2187" height_o="3106" data-src="https://freight.cargo.site/t/original/i/4f1b10eedc9ce00326b2cf899a87a04f4a553744faeb495250e79f6c407f06c1/Adam-Peacock_011_AP.jpg" data-mid="245266837" border="0" src="https://freight.cargo.site/w/1000/i/4f1b10eedc9ce00326b2cf899a87a04f4a553744faeb495250e79f6c407f06c1/Adam-Peacock_011_AP.jpg" /> <img width="886" height="1289" width_o="886" height_o="1289" data-src="https://freight.cargo.site/t/original/i/edba2de8911841f3412179a3bfe9950d0f37b38cfee686861e1e8a26a70974c0/Adam-Peacock_0111_AP.jpg" data-mid="246789103" border="0" data-scale="100" src="https://freight.cargo.site/w/886/i/edba2de8911841f3412179a3bfe9950d0f37b38cfee686861e1e8a26a70974c0/Adam-Peacock_0111_AP.jpg" /> Resisting Optimisation 00–3 Machine and hand-drawn oil paint on Stainless Steel, 16 Tiles 124 x 174cm, Oslo 2026Installation Photo, Jon Gorospe/SKOG <img width="7008" height="4672" width_o="7008" height_o="4672" data-src="https://freight.cargo.site/t/original/i/23659ee9a00538c62fcf285e206edab9de694577599174dbb8e5c6ee31b4983d/Hilde-Frantzen-Adam-Peacock_01_AP.jpg" data-mid="245200089" border="0" src="https://freight.cargo.site/w/1000/i/23659ee9a00538c62fcf285e206edab9de694577599174dbb8e5c6ee31b4983d/Hilde-Frantzen-Adam-Peacock_01_AP.jpg" /> <img width="6801" height="4534" width_o="6801" height_o="4534" data-src="https://freight.cargo.site/t/original/i/13dce753d22bc852d9bef598a87ba7c11b2a1d28dc5273e2005a692d594c5fab/Hilde-Frantzen-Adam-Peacock_02.jpg" data-mid="245200117" border="0" src="https://freight.cargo.site/w/1000/i/13dce753d22bc852d9bef598a87ba7c11b2a1d28dc5273e2005a692d594c5fab/Hilde-Frantzen-Adam-Peacock_02.jpg" /> Resisting Optimisation 02–1 Machine and hand-drawn oil paint on Stainless Steel14.8 x 21 cm, Oslo 2026Installation Photo, Jon Gorospe/SKOG <img width="7008" height="4672" width_o="7008" height_o="4672" data-src="https://freight.cargo.site/t/original/i/97a63c88408f94c7e86ccbbc4ef1d2babe7444815ca5ec45b851665c29e72ace/Hilde-Frantzen-Adam-Peacock_05_AP.jpg" data-mid="245200054" border="0" src="https://freight.cargo.site/w/1000/i/97a63c88408f94c7e86ccbbc4ef1d2babe7444815ca5ec45b851665c29e72ace/Hilde-Frantzen-Adam-Peacock_05_AP.jpg" /> Resisting Optimisation 00-7, 00-1, 00-2, 00-5 Machine and hand-drawn oil paint on Stainless Steel 29.7 × 42cm each, Oslo 2026 Installation Photo, Jon Gorospe/SKOG <img width="3034" height="4248" width_o="3034" height_o="4248" data-src="https://freight.cargo.site/t/original/i/fbb69e02a43a166cda997955263a443e5077814174b7667ba7fa0ee1ecfb84f0/Adam-Peacock_Resisting-Optimisation_00-6.jpg" data-mid="245214376" border="0" src="https://freight.cargo.site/w/1000/i/fbb69e02a43a166cda997955263a443e5077814174b7667ba7fa0ee1ecfb84f0/Adam-Peacock_Resisting-Optimisation_00-6.jpg" /> <img width="3034" height="4248" width_o="3034" height_o="4248" data-src="https://freight.cargo.site/t/original/i/00b8f6051e985e955de358cde89d3934bd747efc073d386d7ee2dd66a5a52e21/Adam-Peacock_Resisting-Optimisation_00-2_.jpg" data-mid="245269909" border="0" src="https://freight.cargo.site/w/1000/i/00b8f6051e985e955de358cde89d3934bd747efc073d386d7ee2dd66a5a52e21/Adam-Peacock_Resisting-Optimisation_00-2_.jpg" /> <img width="3034" height="4248" width_o="3034" height_o="4248" data-src="https://freight.cargo.site/t/original/i/9b9dc6f88e7ba44f8f69f70889b54e460e25bc9cc933c03eec29bf0f8c6b0995/Adam-Peacock_Resisting-Optimisation_00-7.jpg" data-mid="245269908" border="0" src="https://freight.cargo.site/w/1000/i/9b9dc6f88e7ba44f8f69f70889b54e460e25bc9cc933c03eec29bf0f8c6b0995/Adam-Peacock_Resisting-Optimisation_00-7.jpg" /> <img width="3034" height="4248" width_o="3034" height_o="4248" data-src="https://freight.cargo.site/t/original/i/c646f0c562250dd39bc9b9b17412ee22133374373300d4c8582eaf0870a78806/Adam-Peacock_Resisting-Optimisation_00-1_.jpg" data-mid="245269910" border="0" src="https://freight.cargo.site/w/1000/i/c646f0c562250dd39bc9b9b17412ee22133374373300d4c8582eaf0870a78806/Adam-Peacock_Resisting-Optimisation_00-1_.jpg" /> <img width="7008" height="4672" width_o="7008" height_o="4672" data-src="https://freight.cargo.site/t/original/i/21ee2d7c4bd44b61d50837f1d37f24a597e0e8f48b06fb49d42131ba0d0dd57d/Adam-Peacock_04_AP.jpg" data-mid="245270763" border="0" src="https://freight.cargo.site/w/1000/i/21ee2d7c4bd44b61d50837f1d37f24a597e0e8f48b06fb49d42131ba0d0dd57d/Adam-Peacock_04_AP.jpg" /> Resisting Optimisation 00-3, 00-6, 00-2, 00-7, 00-1Machine and hand-drawn oil paint on Stainless Steel(00-7, 00-1, 00-2, 00-5) 29.7 × 42cm each (00-3) 16 tiles, 124 x 174cm Oslo 2026 Installation Photo, Jon Gorospe/SKOG <img width="1504" height="2256" width_o="1504" height_o="2256" data-src="https://freight.cargo.site/t/original/i/cdf304badb91f62d6502c905e0b803c1ba668d85432d31a202bffbda3beb5201/Adam-Peacock_0666_AP.jpg" data-mid="245285631" border="0" src="https://freight.cargo.site/w/1000/i/cdf304badb91f62d6502c905e0b803c1ba668d85432d31a202bffbda3beb5201/Adam-Peacock_0666_AP.jpg" /> <img width="5307" height="3537" width_o="5307" height_o="3537" data-src="https://freight.cargo.site/t/original/i/28dcaf2c9417d55fa6f384ba1baebfbf36a5e2460d1f1ecb76c315998185f465/Adam-Peacock_066_AP_2.jpg" data-mid="245269864" border="0" src="https://freight.cargo.site/w/1000/i/28dcaf2c9417d55fa6f384ba1baebfbf36a5e2460d1f1ecb76c315998185f465/Adam-Peacock_066_AP_2.jpg" /> Resisting Optimisation 00–10Machine and hand-drawn oil paint on Stainless Steel, 16 Tiles88 x 64 cm, Oslo 2026Installation Photo, Jon Gorospe/SKOG RESISTING OPTIMISATION WORKFLOW EXPERIMENTS <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/7de5ef9a724a256ce9ed9c32cf8e226fa2f9d1beb50af1cbb36e1f9356ad5886/Adam-Peacock_Resisting-Optimisation_02-8.jpg" data-mid="245201606" border="0" src="https://freight.cargo.site/w/1000/i/7de5ef9a724a256ce9ed9c32cf8e226fa2f9d1beb50af1cbb36e1f9356ad5886/Adam-Peacock_Resisting-Optimisation_02-8.jpg" /> <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/2570fa8883feb8986513fce5ac9b10103c7a8d08810acd35ca596dc1675c3c3e/Adam-Peacock_Resisting-Optimisation_03-11.jpg" data-mid="248636535" border="0" src="https://freight.cargo.site/w/1000/i/2570fa8883feb8986513fce5ac9b10103c7a8d08810acd35ca596dc1675c3c3e/Adam-Peacock_Resisting-Optimisation_03-11.jpg" /> <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/dede5a3d42783999dc6cb43e23a3abde80037909d8428d15cab06321e43f63b4/Adam-Peacock_Resisting-Optimisation_03-08.jpg" data-mid="245201604" border="0" src="https://freight.cargo.site/w/1000/i/dede5a3d42783999dc6cb43e23a3abde80037909d8428d15cab06321e43f63b4/Adam-Peacock_Resisting-Optimisation_03-08.jpg" /> <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/78c436b9b5912866ae7f22181636fa0f886831c63e67b299116a70bcd4a64c2f/Adam-Peacock_Resisting-Optimisation_03-06.jpg" data-mid="245201600" border="0" src="https://freight.cargo.site/w/1000/i/78c436b9b5912866ae7f22181636fa0f886831c63e67b299116a70bcd4a64c2f/Adam-Peacock_Resisting-Optimisation_03-06.jpg" /> <img width="3048" height="3810" width_o="3048" height_o="3810" data-src="https://freight.cargo.site/t/original/i/bc3f3a2672e6286c544f045217243a6bca2075478c9d25948c6820ad6df55787/Adam-Peacock_Resisting-Optimisation_03-33.jpg" data-mid="245201605" border="0" src="https://freight.cargo.site/w/1000/i/bc3f3a2672e6286c544f045217243a6bca2075478c9d25948c6820ad6df55787/Adam-Peacock_Resisting-Optimisation_03-33.jpg" /> <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/8dffe7d14d3489787ac5be1326da0d23d2a052bc79fafa6f84d417e6ccf54f3f/Adam-Peacock_Resisting-Optimisation_03-12.jpg" data-mid="248636546" border="0" src="https://freight.cargo.site/w/1000/i/8dffe7d14d3489787ac5be1326da0d23d2a052bc79fafa6f84d417e6ccf54f3f/Adam-Peacock_Resisting-Optimisation_03-12.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/4a2e491f4ae8f96ff97bb37b206f20f9f10f6484f717a7c0fe835de1a1598fe1/Adam-Peacock_Resisting-Optimisation_02-2.jpg" data-mid="248636593" border="0" src="https://freight.cargo.site/w/1000/i/4a2e491f4ae8f96ff97bb37b206f20f9f10f6484f717a7c0fe835de1a1598fe1/Adam-Peacock_Resisting-Optimisation_02-2.jpg" /> <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/62e3b0dbbbb3a760b4845acb09ce15c0f76a459042854bf894b95a276c300511/Adam-Peacock_Resisting-Optimisation_03-05.jpg" data-mid="248636596" border="0" src="https://freight.cargo.site/w/1000/i/62e3b0dbbbb3a760b4845acb09ce15c0f76a459042854bf894b95a276c300511/Adam-Peacock_Resisting-Optimisation_03-05.jpg" /> <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/ce77f1c1fe2713716503bf5b2152a227da8327dd5bc69675d035a5148b8d8db4/Adam-Peacock_Resisting-Optimisation_03-09.jpg" data-mid="248636597" border="0" src="https://freight.cargo.site/w/1000/i/ce77f1c1fe2713716503bf5b2152a227da8327dd5bc69675d035a5148b8d8db4/Adam-Peacock_Resisting-Optimisation_03-09.jpg" /> <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/1a52e8618c7a8245afe7318f72243ffb6ce2f7ca7f5a060857339c1b7780469a/Adam-Peacock_Resisting-Optimisation_03-07.jpg" data-mid="248636598" border="0" src="https://freight.cargo.site/w/1000/i/1a52e8618c7a8245afe7318f72243ffb6ce2f7ca7f5a060857339c1b7780469a/Adam-Peacock_Resisting-Optimisation_03-07.jpg" /> <img width="2303" height="5138" width_o="2303" height_o="5138" data-src="https://freight.cargo.site/t/original/i/90ed61fc0bfe2abfff1fa68ff92d0c0bc6c245102a9cc87f5615a9deb9032827/RESIST_AP.jpg" data-mid="241632333" border="0" src="https://freight.cargo.site/w/1000/i/90ed61fc0bfe2abfff1fa68ff92d0c0bc6c245102a9cc87f5615a9deb9032827/RESIST_AP.jpg" /> SKOG in conversation with Adam Peacock (1:38mins)Discussing AI-integrated automation of filtering mechanisms in platform cultures, and parametric scripting existing behind RESISTING OPTIMISATIONVideo, Ida Kathrine Hansen/SKOG RESISTING OPTIMISATION Artist, researcher and project lead,&nbsp;Adam PeacockCuratorial collaboration,&nbsp;Brian Noguera, Kim Gabrielli, Ida Kathrine HansenExhibition partner,&nbsp;SKOG Art Space Oslo Project research supervision,&nbsp;Dr Emily Rosamond and Dr Scott Wark, Visual Cultures, Goldsmiths, University of LondonSupport received from,&nbsp;UK Economic and Social Research Council ESRC; South and East Network for Social Sciences SENSS; Visual Cultures, Goldsmiths, University of London; Department of Computing, Goldsmiths, University of London SELECTED PROJECT ENGAGEMENT 2026, [Full exhibition],&nbsp;Exhibited at SKOG Art Space, Oslo2026, [RESISTING OPTIMISATION 00-11], Exhibited at BLEUR Gallery, London <img width="446" height="113" width_o="446" height_o="113" data-src="https://freight.cargo.site/t/original/i/0e1f0a643fb540094feea4b67bfd62b375fb2b3c7d85346b50d3fb30c6f446c5/Goldsmiths.png" data-mid="241246404" border="0" src="https://freight.cargo.site/w/446/i/0e1f0a643fb540094feea4b67bfd62b375fb2b3c7d85346b50d3fb30c6f446c5/Goldsmiths.png" /> <img width="2560" height="651" width_o="2560" height_o="651" data-src="https://freight.cargo.site/t/original/i/2dc192c1b10327b3cbfa3be3ca7356eaa43ca7c4d3c12f80255046b46b363d71/Economic_and_Social_Research_Council_logo.svg.png" data-mid="241246406" border="0" src="https://freight.cargo.site/w/1000/i/2dc192c1b10327b3cbfa3be3ca7356eaa43ca7c4d3c12f80255046b46b363d71/Economic_and_Social_Research_Council_logo.svg.png" /> <img width="282" height="178" width_o="282" height_o="178" data-src="https://freight.cargo.site/t/original/i/fc86cbd6c751c8112d35c69366e825c2bdaaba127b310d299f44e89b50ef37b8/SKOG.png" data-mid="245201608" border="0" src="https://freight.cargo.site/w/282/i/fc86cbd6c751c8112d35c69366e825c2bdaaba127b310d299f44e89b50ef37b8/SKOG.png" /> <img width="1122" height="519" width_o="1122" height_o="519" data-src="https://freight.cargo.site/t/original/i/7fa05fd473bb83c03160bd0ca55eb230d5790836c267273deb2541b21673e980/SENSS-logo.png" data-mid="241246405" border="0" src="https://freight.cargo.site/w/1000/i/7fa05fd473bb83c03160bd0ca55eb230d5790836c267273deb2541b21673e980/SENSS-logo.png" /> https://adampeacock.co.uk/THE-VALIDATION-JUNKY-BOOK-2025 Fri, 23 May 2025 17:22:11 +0000 ADAM PEACOCK https://adampeacock.co.uk/THE-VALIDATION-JUNKY-BOOK-2025 THE VALIDATION JUNKY BOOK LONDON, – IN PROGRESS THE VALIDATION JUNKY is a graphic book about identity in a world saturated with technology. Across 300 pages, layered drawings slowly build up a picture of one fictional character shaped by algorithms, platform economies, and the politics of being seen. Each page adds a new symbol or structural element, gradually accumulating visual and conceptual density. These layers render visible the usually hidden systems shaping the world that THE VALIDATION JUNKY has to navigate—an emergent landscape shaped by optimisation, feedback loops, and neurochemical validation. The book unfolds like a slow reveal. THE VALIDATION JUNKY is a speculative design project, not a character study in the usual sense. It doesn’t ask how they might return to some pre-digital, “authentic” self; it explores how an individual might navigate platform capitalism with a sense of agency, without giving in entirely. Humour, contradiction, and exaggeration are used as tools. The book invites readers to reflect on what it means to live in a world where desirability is engineered, identity is data, and algorithmic visibility is survival. In this world, THE VALIDATION JUNKY, as a designed experiment, examines the very real architectures of selfhood in a hyper-mediated age. Keywords - Digital Identity, Algorithmic Desirability, Platform Capitalism, Post-Ontology, Social Metrics, Networked Subjectivity, Feedback Systems, Performativity, Identity Capital, Media Aesthetics, Cybernetic Intimacies, Validation Cultures <img width="1500" height="2051" width_o="1500" height_o="2051" data-src="https://freight.cargo.site/t/original/i/6cd5a0f5ec71864ccaa2c410836c02279d83653b89949dcaddd20675110fe61c/2025-THE-VALIDATION-JUNKY_ADAM-PEACOCK.jpg" data-mid="241221625" border="0" src="https://freight.cargo.site/w/1000/i/6cd5a0f5ec71864ccaa2c410836c02279d83653b89949dcaddd20675110fe61c/2025-THE-VALIDATION-JUNKY_ADAM-PEACOCK.jpg" /> <img width="3508" height="4961" width_o="3508" height_o="4961" data-src="https://freight.cargo.site/t/original/i/e4bbbbaeab940169ef102994e77b118391b0abef34c0343c5f8232f3df704bff/ADAMPEACOCK_THE-VALIDATION-JUNKY-BOOK.GIF" data-mid="235257969" border="0" src="https://freight.cargo.site/w/1000/i/e4bbbbaeab940169ef102994e77b118391b0abef34c0343c5f8232f3df704bff/ADAMPEACOCK_THE-VALIDATION-JUNKY-BOOK.GIF" /> <img width="10408" height="14998" width_o="10408" height_o="14998" data-src="https://freight.cargo.site/t/original/i/fdb9dd60ed345b9194deeaad46266da4131449d095e673a494a9bb3630d3c636/ADAMPEACOCK_THE-VALIDATION-JUNKY-BOOK_LOW.jpg" data-mid="241174536" border="0" src="https://freight.cargo.site/w/1000/i/fdb9dd60ed345b9194deeaad46266da4131449d095e673a494a9bb3630d3c636/ADAMPEACOCK_THE-VALIDATION-JUNKY-BOOK_LOW.jpg" /> THE VALIDATION JUNKY BOOK IN PROGRESS Supported by Goldsmiths University of London UK, UK Economic and Social Research Council (ESRC), UK South and East Network for Social Sciences (SeNSS) <img width="446" height="113" width_o="446" height_o="113" data-src="https://freight.cargo.site/t/original/i/c3f98d97ff2b45049f514551136173c8762223e2fd584eca34e67cc1f624c8f6/Goldsmiths.png" data-mid="241246356" border="0" src="https://freight.cargo.site/w/446/i/c3f98d97ff2b45049f514551136173c8762223e2fd584eca34e67cc1f624c8f6/Goldsmiths.png" /> <img width="2560" height="651" width_o="2560" height_o="651" data-src="https://freight.cargo.site/t/original/i/3e561fc4ae3eb39394fdfa452a9fed11bf4be8b900f23f21f0559ef15babae84/Economic_and_Social_Research_Council_logo.svg.png" data-mid="241246358" border="0" src="https://freight.cargo.site/w/1000/i/3e561fc4ae3eb39394fdfa452a9fed11bf4be8b900f23f21f0559ef15babae84/Economic_and_Social_Research_Council_logo.svg.png" /> <img width="1122" height="519" width_o="1122" height_o="519" data-src="https://freight.cargo.site/t/original/i/ea944fe48cfda7c2bef7152e871adffaac3bc9b93aab17fabbbdf25d54a6d016/SENSS-logo.png" data-mid="241246357" border="0" src="https://freight.cargo.site/w/1000/i/ea944fe48cfda7c2bef7152e871adffaac3bc9b93aab17fabbbdf25d54a6d016/SENSS-logo.png" /> https://adampeacock.co.uk/THE-VALIDATION-JUNKY-2022-23 Tue, 03 Oct 2023 12:53:00 +0000 ADAM PEACOCK https://adampeacock.co.uk/THE-VALIDATION-JUNKY-2022-23 THE VALIDATION JUNKY OSLO, 2023 THE VALIDATION JUNKY is an ongoing research-led project that investigates how identity, desirability, and the body are shaped and increasingly codified by digital infrastructures. Algorithmic systems increasingly reconstruct subjectivity through data loops, platform feedback, and the commodification of the self, operating at a planetary scale in which over 60% of the global population actively uses social media (Statista, 2023). In parallel, rapid developments in AI and biotechnology, often driven by corporate agendas, are transforming the human body at a pace that outstrips existing regulatory frameworks. THE VALIDATION JUNKY continues to expand through interdisciplinary formats, blending critical design, systems thinking, and speculative fiction, centring queer perspectives in discussions of mental health, technological development, and digital governance.&nbsp; &nbsp; Keywords - Artificial Intelligence, Bio-Technology, New Media, Post-Ontology, Transhumanism <img width="11251" height="15000" width_o="11251" height_o="15000" data-src="https://freight.cargo.site/t/original/i/15562cb7893c75f138eb4c330cd32e75348b45a2eeec20fb43df8d720d222b94/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_INSTALL_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="194539698" border="0" src="https://freight.cargo.site/w/1000/i/15562cb7893c75f138eb4c330cd32e75348b45a2eeec20fb43df8d720d222b94/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_INSTALL_PHOTO-CREDIT-PEACOCKRAM.jpg" /> VALIDERINGSSØPPELET VALIDERINGSSØPPELET is a large-scale drawing that explores how artificial intelligence, new media, and cognitive computation influence the construction of identities. Using a mix of anatomical forms, speculative design, and architectural drawing techniques, the drawing visualises the hidden systems that shape how an individual is seen, valued, and understood in today's digital world. In continuous development since 2013, the 2023 version brings together research developed in Oslo through collaboration with PRAKSIS and builds on partnerships with The Vigeland Museum and Karmaklubb*. The drawing reflects on how bodies and identities are increasingly shaped by algorithms, and looks closely at how validation culture operates across digital platforms. The title, VALIDERINGSSØPPELET, is Norwegian for "The Validation Garbage," and accounts for this version’s research and development in Norway. The use of a Norwegian title anchors the work in this context while signalling its critical stance: it brings attention to what gets left out, pushed aside, or made invisible by systems that constantly rank and measure online users. The phrase captures the emotional and cultural residue of digital life, especially for those who don’t align with dominant expressions of identity. <img width="5250" height="7000" width_o="5250" height_o="7000" data-src="https://freight.cargo.site/t/original/i/0ed954a90e342719f1d34cbc3209f918c7f71136b93d3532e937279f2c2a4a5b/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-14_PHOTO-CREDIT-PEACOCK_RAM_02.jpg" data-mid="221692877" border="0" src="https://freight.cargo.site/w/1000/i/0ed954a90e342719f1d34cbc3209f918c7f71136b93d3532e937279f2c2a4a5b/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-14_PHOTO-CREDIT-PEACOCK_RAM_02.jpg" />Digitally-drawn giclee print on Hahnemühle Photo Rag Installation of nine frames, 332(h) x 242 (w)cm1 of 1. Oslo, 2023. Photo Credit - Peacock/RAM <img width="1913" height="2551" width_o="1913" height_o="2551" data-src="https://freight.cargo.site/t/original/i/6a962dcb8ca30ac5736de45abad8169d7e4ebe5c2a86385ad8219a09155e710d/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_PHOTO-CREDIT-PEACOCK_RAM_LOWRES.jpg" data-mid="194540320" border="0" src="https://freight.cargo.site/w/1000/i/6a962dcb8ca30ac5736de45abad8169d7e4ebe5c2a86385ad8219a09155e710d/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_PHOTO-CREDIT-PEACOCK_RAM_LOWRES.jpg" /> <img width="3232" height="4310" width_o="3232" height_o="4310" data-src="https://freight.cargo.site/t/original/i/06b6f5ab7e516458d893c439c538fdddfe88e95a9f1689f44806c3c21a7c56bc/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-10_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="194540688" border="0" src="https://freight.cargo.site/w/1000/i/06b6f5ab7e516458d893c439c538fdddfe88e95a9f1689f44806c3c21a7c56bc/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-10_PHOTO-CREDIT-PEACOCKRAM.jpg" /> <img width="7087" height="5314" width_o="7087" height_o="5314" data-src="https://freight.cargo.site/t/original/i/6b9439d6bd302c97a95f6b560d4a2dbd17aaa539b150efe193ab293d09b10938/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-03_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="194540708" border="0" src="https://freight.cargo.site/w/1000/i/6b9439d6bd302c97a95f6b560d4a2dbd17aaa539b150efe193ab293d09b10938/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-03_PHOTO-CREDIT-PEACOCKRAM.jpg" /> <img width="1168" height="1557" width_o="1168" height_o="1557" data-src="https://freight.cargo.site/t/original/i/6c500ef74589df0d303bfe9818a3d8c2f964b58b8e4fedae294a51e76404e53f/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-09_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="194580041" border="0" src="https://freight.cargo.site/w/1000/i/6c500ef74589df0d303bfe9818a3d8c2f964b58b8e4fedae294a51e76404e53f/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-09_PHOTO-CREDIT-PEACOCKRAM.jpg" /> <img width="3339" height="2504" width_o="3339" height_o="2504" data-src="https://freight.cargo.site/t/original/i/9f0a49190f346d620f0478c39b1c1804352208f4f59a4856fb7fff37a05a0086/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-18_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="194540736" border="0" src="https://freight.cargo.site/w/1000/i/9f0a49190f346d620f0478c39b1c1804352208f4f59a4856fb7fff37a05a0086/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-18_PHOTO-CREDIT-PEACOCKRAM.jpg" /> <img width="3339" height="2504" width_o="3339" height_o="2504" data-src="https://freight.cargo.site/t/original/i/29640e5137674086d5308c11652e42855ab63d4150d228883e6b29e8ffa74c62/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_IPHONE_PHOTO-CREDIT-PEACOCK.jpg" data-mid="203173887" border="0" src="https://freight.cargo.site/w/1000/i/29640e5137674086d5308c11652e42855ab63d4150d228883e6b29e8ffa74c62/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_IPHONE_PHOTO-CREDIT-PEACOCK.jpg" /> <img width="3339" height="2504" width_o="3339" height_o="2504" data-src="https://freight.cargo.site/t/original/i/7fd5a6d3e6d3730a568632b0ab0a124786792e4b4a3948260e4c0013756b8173/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-IPAD_PHOTO-CREDIT-PEACOCK_RAM.jpg" data-mid="203176607" border="0" src="https://freight.cargo.site/w/1000/i/7fd5a6d3e6d3730a568632b0ab0a124786792e4b4a3948260e4c0013756b8173/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-IPAD_PHOTO-CREDIT-PEACOCK_RAM.jpg" /> <img width="3339" height="2504" width_o="3339" height_o="2504" data-src="https://freight.cargo.site/t/original/i/e1680578d2d470cf43d87f927c1fb61655a12799ae324cd9395b5e39766c40f2/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-11_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="194580207" border="0" src="https://freight.cargo.site/w/1000/i/e1680578d2d470cf43d87f927c1fb61655a12799ae324cd9395b5e39766c40f2/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-11_PHOTO-CREDIT-PEACOCKRAM.jpg" /> <img width="2649" height="1987" width_o="2649" height_o="1987" data-src="https://freight.cargo.site/t/original/i/e9329a118aefae269e1f835f376ebc9b7791ebf1289120ef4e500e789cad9945/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-05_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="194540729" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/e9329a118aefae269e1f835f376ebc9b7791ebf1289120ef4e500e789cad9945/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-05_PHOTO-CREDIT-PEACOCKRAM.jpg" /> <img width="4449" height="3336" width_o="4449" height_o="3336" data-src="https://freight.cargo.site/t/original/i/ba9e1094c67a39392d5e17cd86a219417fdad8e8ec98ed72697428cf3a0fb7f2/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-07_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="203176262" border="0" src="https://freight.cargo.site/w/1000/i/ba9e1094c67a39392d5e17cd86a219417fdad8e8ec98ed72697428cf3a0fb7f2/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-07_PHOTO-CREDIT-PEACOCKRAM.jpg" /> <img width="2504" height="3339" width_o="2504" height_o="3339" data-src="https://freight.cargo.site/t/original/i/527640ca2210afe01556dccbfbaa4018fd9ef3cef2ccd2bc5faa5775e9c663fa/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-12_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="203176283" border="0" src="https://freight.cargo.site/w/1000/i/527640ca2210afe01556dccbfbaa4018fd9ef3cef2ccd2bc5faa5775e9c663fa/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-12_PHOTO-CREDIT-PEACOCKRAM.jpg" /> <img width="3282" height="4376" width_o="3282" height_o="4376" data-src="https://freight.cargo.site/t/original/i/a47613ff1fc0c8124083ce1e0c74df7497ff322f2a7909a988e0c25778c67fe0/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-21_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="203176635" border="0" src="https://freight.cargo.site/w/1000/i/a47613ff1fc0c8124083ce1e0c74df7497ff322f2a7909a988e0c25778c67fe0/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_THE-VALIDATION-JUNKY-2024_DETAIL-21_PHOTO-CREDIT-PEACOCKRAM.jpg" /> <img width="6443" height="4295" width_o="6443" height_o="4295" data-src="https://freight.cargo.site/t/original/i/908062781d80568526bc4026103ccef1c8ae81c82c545294616bf0b59c237496/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-MULTICHANNEL_PHOTO-CREDIT-PAH-fotoPEACOCKRAM.jpg" data-mid="194540864" border="0" src="https://freight.cargo.site/w/1000/i/908062781d80568526bc4026103ccef1c8ae81c82c545294616bf0b59c237496/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-MULTICHANNEL_PHOTO-CREDIT-PAH-fotoPEACOCKRAM.jpg" /> PERFECTION / SPECULATION at The Vigeland MuseumA central component of the project, PERFECTION / SPECULATION at the Vigeland Museum, features a series of interviews staged at the museum with thinkers from the fields of speculative design, media theory, and bioethics, including Natasha Vita-More, Mark Jarzombek, Lev Manovich, and Lucy McRae. These dialogues unfold amidst Vigeland’s canonical sculptures, reflecting how both normative and non-normative bodies have always been shaped by inherited visual cultures and emerging technological ideals. Multi-Channel Moving Image 15:00 Mins, Variable Dimensions Oslo, 2023Photo Credit - PAH foto/Peacock/RAM <img width="739" height="415" width_o="739" height_o="415" data-src="https://freight.cargo.site/t/original/i/08c1e89d79e29edd4a1839badb50757d8418501d50811e6d3e3c2c9ebf89d76f/undefined-high-5.gif" data-mid="196296914" border="0" src="https://freight.cargo.site/w/739/i/08c1e89d79e29edd4a1839badb50757d8418501d50811e6d3e3c2c9ebf89d76f/undefined-high-5.gif" /> <img width="6540" height="4360" width_o="6540" height_o="4360" data-src="https://freight.cargo.site/t/original/i/f96042b0e6ab1e6fb86d201612d10fbb70512118ce90ff6287e368c91f24ee2d/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-MULTICHANNEL_PHOTO-CREDIT-PAH-fotoPEACOCKRAM_02.jpg" data-mid="194542421" border="0" src="https://freight.cargo.site/w/1000/i/f96042b0e6ab1e6fb86d201612d10fbb70512118ce90ff6287e368c91f24ee2d/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-MULTICHANNEL_PHOTO-CREDIT-PAH-fotoPEACOCKRAM_02.jpg" /> <img width="739" height="415" width_o="739" height_o="415" data-src="https://freight.cargo.site/t/original/i/da7f1a2868ca72cacc751340662a0cf766b97841647c78fc8c06bf69a3fe8946/undefined-high-3.gif" data-mid="196296971" border="0" src="https://freight.cargo.site/w/739/i/da7f1a2868ca72cacc751340662a0cf766b97841647c78fc8c06bf69a3fe8946/undefined-high-3.gif" /> <img width="739" height="415" width_o="739" height_o="415" data-src="https://freight.cargo.site/t/original/i/1a6061c2bba108a6792b48e0a9f36268c5a126448dc48021daddbdb09fb98712/undefined-high-6.gif" data-mid="196297129" border="0" src="https://freight.cargo.site/w/739/i/1a6061c2bba108a6792b48e0a9f36268c5a126448dc48021daddbdb09fb98712/undefined-high-6.gif" /> <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/39253c04b3be6c10f7c4d9ddc9298e7c5701ff59610adb80ff38c4390f4b29b6/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-PRINT-DOC_PHOTO-CREDIT_PEACOCKPRAKSIS_02.jpg" data-mid="194540961" border="0" src="https://freight.cargo.site/w/1000/i/39253c04b3be6c10f7c4d9ddc9298e7c5701ff59610adb80ff38c4390f4b29b6/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-PRINT-DOC_PHOTO-CREDIT_PEACOCKPRAKSIS_02.jpg" /> <img width="2697" height="3595" width_o="2697" height_o="3595" data-src="https://freight.cargo.site/t/original/i/692cc90f54bfa0d01ddf228bc32a3a6db4eaf92e94262edbc72b03b444e5c86b/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-EXPLORER_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="194540890" border="0" src="https://freight.cargo.site/w/1000/i/692cc90f54bfa0d01ddf228bc32a3a6db4eaf92e94262edbc72b03b444e5c86b/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-EXPLORER_PHOTO-CREDIT-PEACOCKRAM.jpg" />PERFECTION / SPECULATION IDENTITY MAPThe research was developed in collaboration with The Vigeland Museum, queer live programming initiative Karmaklubb*, and fellow residents of the PRAKSIS programme, whose co-developed interview questions mapped out a collective inquiry into the cultural, psychological, and political implications of body optimisation. A fold-out IDENTITY MAP publication accompanies the project, juxtaposing speculative future-body prototypes with theoretical insights, bridging past artistic legacies with speculative futures. Double-Sided A1 Map, folding into 297 (h) x 105 (w) Oslo, 2023 Photo Credit - Peacock/RAM <img width="2384" height="1684" width_o="2384" height_o="1684" data-src="https://freight.cargo.site/t/original/i/50773d581a8c0edf15e3de914daf438fbe99c68ae6c1bacd27c89eea57d01bbb/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-PRINT-DOC_PHOTO-CREDIT_PEACOCK_PRAKSIS_01_LOWRES.jpg" data-mid="194541287" border="0" src="https://freight.cargo.site/w/1000/i/50773d581a8c0edf15e3de914daf438fbe99c68ae6c1bacd27c89eea57d01bbb/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-PRINT-DOC_PHOTO-CREDIT_PEACOCK_PRAKSIS_01_LOWRES.jpg" /> “It has transcended the modern critique of the Kardashians—that we often see them as being fake, or being a symptom of a certain type of malaise. When in reality, the post-digital sees all people like that: for the post-digital, we’re all Kardashians.” Mark Jarzombek (USA) is a Professor of the History and Theory of Architecture, Massachusetts Institute of Technology (MIT) “In psychological terms beauty is homoeostasis, so I would never want to be a perfect person or perfect being because if so, then I’d have no place to go.” Natasha Vita-More (USA) is the Executive Director of Humanity+ Inc., Founder of H+ Lab, Author of The Transhumanist Manifesto, and designer of Primo Posthuman. “I think that one of the beauties of speculation is that you can prototype and map out scientific “what ifs” and ask questions. What if this happens? Do we want it?” Lucy McRae (UK/AUS) is a science fiction artist, filmmaker, inventor and body architect. She is a Visiting Professor at the Southern California Institute of Architecture (SCI_ARC) “However, maybe we shouldn’t blame the algorithms, because people basically copy each other, don’t they? Very few people are original; maybe one in a million. Most people don’t have time to carve out their own path, or they aren’t brave enough to think for themselves— so they copy one other.” Lev Manovich (RU) is the Presidential Professor at the Graduate Centre, City University of New York (CUNY), and Founder and Director of the Cultural Analytics Lab <img width="2268" height="1602" width_o="2268" height_o="1602" data-src="https://freight.cargo.site/t/original/i/be709e5cc10bfa8f10f0673398277f4036d2eecc63e54fd9edef556f9dfc7dd6/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION_EXPLORER-MAP_SKETCH-OUTPUT_IMAGE-CREDIT-PEACOCK_PRAKSIS_LOWRES.jpg" data-mid="194541510" border="0" src="https://freight.cargo.site/w/1000/i/be709e5cc10bfa8f10f0673398277f4036d2eecc63e54fd9edef556f9dfc7dd6/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION_EXPLORER-MAP_SKETCH-OUTPUT_IMAGE-CREDIT-PEACOCK_PRAKSIS_LOWRES.jpg" /> PERFECTION / SPECULATION IDENTITY MAP [Future Body Prototype Sketches]Double Sided A1 Map Folding into 297 (h) x 105 (w) Oslo, 2023Photo Credit - Peacock/PRAKSIS <img width="663" height="259" width_o="663" height_o="259" data-src="https://freight.cargo.site/t/original/i/6b0c482d22e89f5e7f2f6ea6324d34d41f5efd8e69edf0313f50bcce55cdd801/PERFECTION--SPECULATION_CLASH_02.gif" data-mid="196297275" border="0" src="https://freight.cargo.site/w/663/i/6b0c482d22e89f5e7f2f6ea6324d34d41f5efd8e69edf0313f50bcce55cdd801/PERFECTION--SPECULATION_CLASH_02.gif" /> <img width="2956" height="3940" width_o="2956" height_o="3940" data-src="https://freight.cargo.site/t/original/i/5ef048668de3928263529112cb7bfb428f5f960659ec781832268c185880e8ca/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_WE-ARE-WHAT-THE-INTERNET-MAKES-US-I_PHOTO-CREDIT-RAMPEACOCK.jpg" data-mid="194541538" border="0" src="https://freight.cargo.site/w/1000/i/5ef048668de3928263529112cb7bfb428f5f960659ec781832268c185880e8ca/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_WE-ARE-WHAT-THE-INTERNET-MAKES-US-I_PHOTO-CREDIT-RAMPEACOCK.jpg" />WE ARE WHAT THE INTERNET MAKES USWE ARE WHAT THE INTERNET MAKES US is a series of digital sculptures, each animated to blink, breathe, and twitch with a lifelike presence. Over the course of ten minutes, each character undergoes a gradual transformation, morphing into five distinct ideological representations of an idealised or “perfected” self, presented as an experimental exercise in sculptural digital bodybuilding. Developed using human models and enhanced through post-production techniques, the characters engage the viewer directly, locking eyes with the camera in a way that evokes Masahiro Mori’s concept of the Uncanny Valley—the psychological space where the line between a healthy human and a robot blurs, unsettling the viewer’s perception. This installation asks: Who might you become if you could design yourself in any conceivable way? How does new media shape our self-perception, and what roles do society and technology play in this ongoing process of self-mediation? WE ARE WHAT THE INTERNET MAKES US invites viewers to contemplate the intersection of technology, identity, and the human form, challenging the boundaries of how we see ourselves in the digital age. 4k Digital Sculpture Moving Image 10 mins1 of 5. London, 2023Photo Credit - Peacock/RAM <img width="415" height="739" width_o="415" height_o="739" data-src="https://freight.cargo.site/t/original/i/f6d7f1cf0eedd7a959655606d6d770337bfe6662951413b3ee3b879e1879580a/PEACOCK_WE-ARE-WHAT-THE-INTERNET-MAKES-US_IV.gif" data-mid="196299659" border="0" data-scale="64" src="https://freight.cargo.site/w/415/i/f6d7f1cf0eedd7a959655606d6d770337bfe6662951413b3ee3b879e1879580a/PEACOCK_WE-ARE-WHAT-THE-INTERNET-MAKES-US_IV.gif" /> <img width="415" height="739" width_o="415" height_o="739" data-src="https://freight.cargo.site/t/original/i/6348e0cc86787046b141fd79dfb5482ab662db56c90cf179efbe331dd3d50fcc/PEACOCK_WE-ARE-WHAT-THE-INTERNET-MAKES-US---II_GIF-03.gif" data-mid="195915624" border="0" data-scale="64" src="https://freight.cargo.site/w/415/i/6348e0cc86787046b141fd79dfb5482ab662db56c90cf179efbe331dd3d50fcc/PEACOCK_WE-ARE-WHAT-THE-INTERNET-MAKES-US---II_GIF-03.gif" /> <img width="415" height="739" width_o="415" height_o="739" data-src="https://freight.cargo.site/t/original/i/90926c91447a3aebdcc024a09bf6ad6273a85ca26b6565afb8cee72956d6235b/PEACOCK_WE-ARE-WHAT-THE-INTERNET-MAKES-US---I_GIF-03.gif" data-mid="195915642" border="0" data-scale="64" src="https://freight.cargo.site/w/415/i/90926c91447a3aebdcc024a09bf6ad6273a85ca26b6565afb8cee72956d6235b/PEACOCK_WE-ARE-WHAT-THE-INTERNET-MAKES-US---I_GIF-03.gif" /> <img width="2747" height="3664" width_o="2747" height_o="3664" data-src="https://freight.cargo.site/t/original/i/932a06e7100b29b909724c825fae93a9a19b10a2b03056bd8842a3a0d425cb54/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION_WE-ARE-WHAT-THE-INTERNET-MAKES-US_PHOTO-CREDIT-PEACOCKRAM.jpg" data-mid="194541713" border="0" src="https://freight.cargo.site/w/1000/i/932a06e7100b29b909724c825fae93a9a19b10a2b03056bd8842a3a0d425cb54/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION_WE-ARE-WHAT-THE-INTERNET-MAKES-US_PHOTO-CREDIT-PEACOCKRAM.jpg" /> <img width="3937" height="5906" width_o="3937" height_o="5906" data-src="https://freight.cargo.site/t/original/i/e76cd622bea7bf0f2ade4da5977311eedaecf77431e35ce01b185cedbe091f3f/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION_WE-ARE-WHAT-THE-INTERNET-MAKES-US_PHOTO-CREDIT-PAH-fotoPEACOCKRAM_01.jpg" data-mid="194541594" border="0" src="https://freight.cargo.site/w/1000/i/e76cd622bea7bf0f2ade4da5977311eedaecf77431e35ce01b185cedbe091f3f/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION_WE-ARE-WHAT-THE-INTERNET-MAKES-US_PHOTO-CREDIT-PAH-fotoPEACOCKRAM_01.jpg" /> <img width="2912" height="4374" width_o="2912" height_o="4374" data-src="https://freight.cargo.site/t/original/i/860ae806c5e1a62f6c25a150ae43551f20c87928f5371ab98d3753a42b48f024/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_VALIDATION-SKETCH-I_PHOTO-CREDIT-PEACOCK.jpg" data-mid="198340505" border="0" src="https://freight.cargo.site/w/1000/i/860ae806c5e1a62f6c25a150ae43551f20c87928f5371ab98d3753a42b48f024/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_VALIDATION-SKETCH-I_PHOTO-CREDIT-PEACOCK.jpg" /> <img width="2900" height="4360" width_o="2900" height_o="4360" data-src="https://freight.cargo.site/t/original/i/70f6026f444ed41214bc2e1cdee7794dd131efc6dcb108417c4d560cba79e879/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_VALIDATION-SKETCH-II_PHOTO-CREDIT-PEACOCK.jpg" data-mid="198340479" border="0" src="https://freight.cargo.site/w/1000/i/70f6026f444ed41214bc2e1cdee7794dd131efc6dcb108417c4d560cba79e879/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_VALIDATION-SKETCH-II_PHOTO-CREDIT-PEACOCK.jpg" /> VALIDATION SKETCH I+IIDigitally-drawn giclee print and pencil on Hahnemühle Photo Rag29(h) x 42(w) cm. 1 of 1 each. Oslo, 2023 PERFECTION / SPECULATION at The Vigeland MuseumMulti-Channel Moving Image 15:00 Mins, Oslo 2023 THE VALIDATION JUNKY THE CONVERSATION <img width="2250" height="3349" width_o="2250" height_o="3349" data-src="https://freight.cargo.site/t/original/i/ba37c47d5032348c286df70078fcb4cb25b086c7e9b38a1b79d6d605fe196920/VALIDERINGSPPELET--The-Lumen-Prize.jpg" data-mid="242337837" border="0" src="https://freight.cargo.site/w/1000/i/ba37c47d5032348c286df70078fcb4cb25b086c7e9b38a1b79d6d605fe196920/VALIDERINGSPPELET--The-Lumen-Prize.jpg" /> <img width="2317" height="4925" width_o="2317" height_o="4925" data-src="https://freight.cargo.site/t/original/i/f8d138f6caf337b4ddd9b804c5c31a01563828cf1296cae2efe95f07be70a9e2/In-conversation--Adam-Peacock-on-PERFECTION---SPECULATION_CROP.jpg" data-mid="242344149" border="0" src="https://freight.cargo.site/w/1000/i/f8d138f6caf337b4ddd9b804c5c31a01563828cf1296cae2efe95f07be70a9e2/In-conversation--Adam-Peacock-on-PERFECTION---SPECULATION_CROP.jpg" /> <img width="1498" height="2582" width_o="1498" height_o="2582" data-src="https://freight.cargo.site/t/original/i/d9c5df465a319f3963a98903ade494003338a9c7d47b7e511ec74b32d9b1e539/RSA.jpg" data-mid="242347481" border="0" src="https://freight.cargo.site/w/1000/i/d9c5df465a319f3963a98903ade494003338a9c7d47b7e511ec74b32d9b1e539/RSA.jpg" /> <img width="3785" height="7994" width_o="3785" height_o="7994" data-src="https://freight.cargo.site/t/original/i/fceaf7f6b05dfe9d6ca67b0b9e2415ad78ff62d8cbab7cf7dfc93de7f03cae35/If-you-could-live-forever.jpg" data-mid="242249113" border="0" src="https://freight.cargo.site/w/1000/i/fceaf7f6b05dfe9d6ca67b0b9e2415ad78ff62d8cbab7cf7dfc93de7f03cae35/If-you-could-live-forever.jpg" /> <img width="2679" height="3574" width_o="2679" height_o="3574" data-src="https://freight.cargo.site/t/original/i/cf9dce3c88970f5af8b896f6ca315f6cf55f46e563966dcafb90ca0ec57c2321/RAM-OPENING.jpg" data-mid="239026070" border="0" src="https://freight.cargo.site/w/1000/i/cf9dce3c88970f5af8b896f6ca315f6cf55f46e563966dcafb90ca0ec57c2321/RAM-OPENING.jpg" /> <img width="1179" height="1432" width_o="1179" height_o="1432" data-src="https://freight.cargo.site/t/original/i/a182533e6b2ef629cfbdf08de3469b31385e7533603cf151d6a3532666b80913/PRAKSIS-RAM.jpeg" data-mid="239026072" border="0" src="https://freight.cargo.site/w/1000/i/a182533e6b2ef629cfbdf08de3469b31385e7533603cf151d6a3532666b80913/PRAKSIS-RAM.jpeg" /> THE VALIDATION JUNKY 2023 PRAKSIS X RAMDedicated to my love, Daniel Remkall Slotvik, 1989-2023 VALIDERINGSSØPPELET Drawing,&nbsp;Adam Peacock Production,&nbsp;PRAKSIS PERFECTION / SPECULATION at The Vigeland Museum Creative Direction &amp; Concept,&nbsp;Adam Peacock Production, PRAKSIS Research Agenda Lead,&nbsp;Adam Peacock Research Agenda Questions,&nbsp;Marte Aas, Jonathan Armour, Louis Alderson-Bythell, Trinley Dorje, &nbsp;Adam Peacock, Erika Stöckel, Bobby Yu Shuk Pui Interviewees:&nbsp;Lucy McRae, Lev Manovich, Mark Jarzombek, Natasha Vita-More Interviewer,&nbsp;Adam PeacockVideography,&nbsp; Katharina Gellein Viken, Charles KrielEdit,&nbsp;Adam Peacock&nbsp; Location,&nbsp;The Vigeland Museum Production Assistant,&nbsp;Bobby Yu Shuk Pui PERFECTION / SPECULATION IDENTITY MAP Document Design &amp; Concept,&nbsp;Adam Peacock Production, PRAKSIS Copy Edit, Adam Peacock, Rachel Withers Research Agenda Lead, Adam Peacock Research Agenda Question Development, Marte Aas, Jonathan Armour, Louis Alderson-Bythell, Trinley Dorje, &nbsp;Adam Peacock, Erika Stöckel, Bobby Yu Shuk Pui Research Visits, BioArt arena in Norway (NOBA), Bioteknologirådet (The Norwegian Biotechnology Advisory Board), Henie Onstad Kunstsenter, Henry Moore Foundation, Menneskeverd (Human Dignity) Online / In-Person Research Presentations, Department of Archaeology Human Evolutionary Studies University of Cambridge, NFU - Norsk Forbund for Utviklingshemmede (The Norwegian Association for Persons with Intellectual Disabilities), Kreftforeningen (Norwegian Cancer Society), Norwegian University of Science and Technology (NTNU) Printing,&nbsp;Nilz &amp; Otto Grafisk Oslo WE ARE WHAT THE INTERNET MAKES US I, II, IV Creative Direction &amp; Concept,&nbsp;Adam Peacock Photography,&nbsp;Lighting, Styling, Post-Production,&nbsp;Adam PeacockMakeup and Prosthetics,&nbsp;Tamara Dickson-JonesProduction Assistants,&nbsp;Celia Tang, Dian-Jen Lin, Isabela Branca Gygax, Lara GillModel,&nbsp; I, Wing Yue LeungModel,&nbsp; II, Hermione Fallon CallowModel,&nbsp; IV, Thomas Wade Nichols SELECTED PROJECT ENGAGEMENT2023, [We Are What The Internet Makes Us, Character I],&nbsp;Exhibited at Royal Scottish Academy, Edinburgh, Scotland 2023, [Full exhibition] ,&nbsp;Exhibited in a Solo show at RAM Gallery, Oslo, Norway2023, [Full exhibition],&nbsp;Feature by Kunstavisen (The Art Newspaper), Oslo, Norway2023, [Full exhibition],&nbsp;Feature by CLOT Magazine, London, UK 2024, [VALIDERINGSØPPELET]&nbsp;Lumen Prize Finalist, Still Image Category, Lumen Studios London2024, [VALIDERINGSØPPELET]&nbsp;Lumen Prize Finalist, Carla Rapoport Award, Lumen Studios London Supported by&nbsp;PRAKSIS, RAM Galleri, Kulturrådet (Arts and Culture Norway), Oslo Kommune (The City of Oslo) With thanks to &nbsp;Nicholas John Jones, Kristian Schrøder Ashley Austin, Carlos Pez, Chris Lynch, John Duff, Matthias Reichert, William Ainsley, Wei Hen Yui <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/4fd1bc6973cd80567ca5151c774027ae4ee8c45d18510813213a595a80c81d74/praksis-logo-black-large_portrait.jpg" data-mid="241232534" border="0" src="https://freight.cargo.site/w/1000/i/4fd1bc6973cd80567ca5151c774027ae4ee8c45d18510813213a595a80c81d74/praksis-logo-black-large_portrait.jpg" /> <img width="4167" height="4167" width_o="4167" height_o="4167" data-src="https://freight.cargo.site/t/original/i/92cb380079b80d7e54cad87bc2912f73e1ae179523f4798d0fb60d43f9129e8d/5db7fe_28f911e216c344a5bf7c287c6a970d99mv2.png" data-mid="241232535" border="0" src="https://freight.cargo.site/w/1000/i/92cb380079b80d7e54cad87bc2912f73e1ae179523f4798d0fb60d43f9129e8d/5db7fe_28f911e216c344a5bf7c287c6a970d99mv2.png" /> <img width="300" height="51" width_o="300" height_o="51" data-src="https://freight.cargo.site/t/original/i/75c25a64eb67adda02ad513b94ce2d61cec782b8e751b5bef30c6a299de12dd6/KR_LOGO_Black.svg" data-mid="241232542" border="0" src="https://freight.cargo.site/w/300/i/75c25a64eb67adda02ad513b94ce2d61cec782b8e751b5bef30c6a299de12dd6/KR_LOGO_Black.svg" /> <img width="313" height="161" width_o="313" height_o="161" data-src="https://freight.cargo.site/t/original/i/84b164d34374c0894d4bc7dcdb2ff131ac67cd8246c841957f38b3f65d3e5c3a/images-4.png" data-mid="241232532" border="0" src="https://freight.cargo.site/w/313/i/84b164d34374c0894d4bc7dcdb2ff131ac67cd8246c841957f38b3f65d3e5c3a/images-4.png" /> https://adampeacock.co.uk/PERFECTION-SPECULATION-2019-21 Tue, 03 May 2022 17:14:21 +0000 ADAM PEACOCK https://adampeacock.co.uk/PERFECTION-SPECULATION-2019-21 PERFECTION / SPECULATION &nbsp;OSLO 2019-21 PERFECTION / SPECULATION is a research and practice-based investigation into genes, memes and the modifiable human body in Oslo, Norway. PERFECTION / SPECULATION is developed in collaboration with Norwegian arts catalyst PRAKSIS, in partnership with The Vigeland Museum and the nomadic queer club and conversational platform Karmaklubb*. Conceived as a research and practice-based residency, the project used ‘perfection’ as a critical lens to explore intersections of identity, technology, and aesthetics. Drawing on the speculative design framework of the GENETICS GYM project (2016–2020), it centred on sculptural modifications of the work of Norwegian sculptor Gustav Vigeland (1869–1943) to interrogate shifting constructions of gender, race, sexuality, age, body politics, and the notion of the ideal human. The project delivered a multi-year research agenda investigating perfection as a cultural, technological, and ideological force. An international cohort of artists, designers, and researchers was curated through an open call, who gathered in Oslo for the project, working across sculpture, fashion, media, ceramics, film, architecture, and medical rehabilitation. The project culminated in a public programme at the Vigeland Museum, featuring an evening of large-format video and audio installations projected across the museum’s internal courtyard, alongside live drag, DJ sets, artistic performances, and a curated conversation series exploring genes, memes, and the modifiable body. The residency extended the PERFECTION / SPECULATION research agenda into a public, integrated format—exploring identity, embodiment, and technological aesthetics through joy, thought, pleasure, and community. In partnership with PRAKSIS, the programme also developed institutional research collaborations with NOBA (Norwegian BioArt Arena), Bioteknologirådet (Norwegian Biotechnology Advisory Board), Henie Onstad Kunstsenter, the Henry Moore Foundation, and Menneskeverd (Human Dignity). Contributions from the University of Cambridge (Department of Archaeology and Human Evolutionary Studies), Kreftforeningen (Norwegian Cancer Society), NTNU (Norwegian University of Science and Technology), and NFU (The Norwegian Association for Persons with Intellectual Disabilities) further bridged cultural production with academic, medical, and ethical discourse. Keywords - Speculative Design, Biotechnology, Bioethics, Body Politics, Identity, Posthumanism, Digital Media, Cybernetics, Post-Digital Sculpture, Queer Futures, Algorithmic Aesthetics, Contemporary Art&nbsp; <img width="2880" height="1620" width_o="2880" height_o="1620" data-src="https://freight.cargo.site/t/original/i/17074a03f8197bbae5c76a67a29f5a42b4b61d1e6a1e6ef216ac832c72a8f3bb/PERFECTION--SPECULATION_NATASHA.jpg" data-mid="177415877" border="0" src="https://freight.cargo.site/w/1000/i/17074a03f8197bbae5c76a67a29f5a42b4b61d1e6a1e6ef216ac832c72a8f3bb/PERFECTION--SPECULATION_NATASHA.jpg" />Still from PERFECTION / SPECULATION In Conversation With Natasha Vite-More; Beauty, Transhumanism &amp; The Disease of Ageing’,&nbsp; Videography, Katharina Gellein Viken &amp; Charles Kriel, 2023 <img width="885" height="346" width_o="885" height_o="346" data-src="https://freight.cargo.site/t/original/i/15bb5956306b75de36aaff10fb320bfa303485481ae70a6909c05332e6d85095/PERFECTION--SPECULATION_CLASH_01.gif" data-mid="177415468" border="0" src="https://freight.cargo.site/w/885/i/15bb5956306b75de36aaff10fb320bfa303485481ae70a6909c05332e6d85095/PERFECTION--SPECULATION_CLASH_01.gif" /> <img width="885" height="346" width_o="885" height_o="346" data-src="https://freight.cargo.site/t/original/i/748ceacf754107b911ae98e90418ee206f2c45db1d39448d79f0dea1c2845894/PERFECTION--SPECULATION_CLASH_07.gif" data-mid="177415863" border="0" src="https://freight.cargo.site/w/885/i/748ceacf754107b911ae98e90418ee206f2c45db1d39448d79f0dea1c2845894/PERFECTION--SPECULATION_CLASH_07.gif" /> <img width="885" height="346" width_o="885" height_o="346" data-src="https://freight.cargo.site/t/original/i/cb9a6628a59c34eb9745a792a44825b21963bf6d1522805408da9a191816b5ac/PERFECTION--SPECULATION_CLASH_05.gif" data-mid="177415798" border="0" src="https://freight.cargo.site/w/885/i/cb9a6628a59c34eb9745a792a44825b21963bf6d1522805408da9a191816b5ac/PERFECTION--SPECULATION_CLASH_05.gif" /> <img width="885" height="346" width_o="885" height_o="346" data-src="https://freight.cargo.site/t/original/i/0db1a7980f016adfbe4d4a8a5c412bfa94d279b274c8737e5788573ee6004c9f/PERFECTION--SPECULATION_CLASH_03.gif" data-mid="177415684" border="0" src="https://freight.cargo.site/w/885/i/0db1a7980f016adfbe4d4a8a5c412bfa94d279b274c8737e5788573ee6004c9f/PERFECTION--SPECULATION_CLASH_03.gif" /> <img width="867" height="354" width_o="867" height_o="354" data-src="https://freight.cargo.site/t/original/i/0a771f315d49ac3fe894b49773d944155c3589fd8ec9efee2ccf7714ffbb4f0f/PERFECTION--SPECULATION_CLASH_06.gif" data-mid="177415837" border="0" src="https://freight.cargo.site/w/867/i/0a771f315d49ac3fe894b49773d944155c3589fd8ec9efee2ccf7714ffbb4f0f/PERFECTION--SPECULATION_CLASH_06.gif" /> <img width="663" height="259" width_o="663" height_o="259" data-src="https://freight.cargo.site/t/original/i/95d68e9a43615ea3d62e42c327a0b8f3197d988f7ed3ba7e5f9dbc582d164da2/PERFECTION--SPECULATION_CLASH_02.gif" data-mid="177415628" border="0" src="https://freight.cargo.site/w/663/i/95d68e9a43615ea3d62e42c327a0b8f3197d988f7ed3ba7e5f9dbc582d164da2/PERFECTION--SPECULATION_CLASH_02.gif" /> <img width="885" height="346" width_o="885" height_o="346" data-src="https://freight.cargo.site/t/original/i/a11d2e31ed39f29c30ddd8dbf30b01ec0a97e4da6d00f5796e4e9e620eac55cf/PERFECTION--SPECULATION_CLASH_04.gif" data-mid="177415780" border="0" src="https://freight.cargo.site/w/885/i/a11d2e31ed39f29c30ddd8dbf30b01ec0a97e4da6d00f5796e4e9e620eac55cf/PERFECTION--SPECULATION_CLASH_04.gif" /> <img width="867" height="354" width_o="867" height_o="354" data-src="https://freight.cargo.site/t/original/i/aea21be5f4201bf8790901d728d55fc705031a12dbba8f9def37a26a272507a3/PERFECTION--SPECULATION_CLASH_09.gif" data-mid="177415887" border="0" src="https://freight.cargo.site/w/867/i/aea21be5f4201bf8790901d728d55fc705031a12dbba8f9def37a26a272507a3/PERFECTION--SPECULATION_CLASH_09.gif" /> Selections from,‘PERFECTION / SPECULATION Clash’,Made by P/S Film Clash Group,Moving Image, 14 mins, 2023 <img width="2384" height="1684" width_o="2384" height_o="1684" data-src="https://freight.cargo.site/t/original/i/95989b1e7113148e7f1881a0e37baa1b69b5b390ba22a29060c77a91a443821a/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-PRINT-DOC_PHOTO-CREDIT_PEACOCK_PRAKSIS_01_LOWRES.jpg" data-mid="238840022" border="0" src="https://freight.cargo.site/w/1000/i/95989b1e7113148e7f1881a0e37baa1b69b5b390ba22a29060c77a91a443821a/PRAKSIS-X-RAM_ADAM-PEACOCK_THE-VALIDATION-JUNKY_PERFECTION-SPECULATION-PRINT-DOC_PHOTO-CREDIT_PEACOCK_PRAKSIS_01_LOWRES.jpg" /> <img width="1416" height="1000" width_o="1416" height_o="1000" data-src="https://freight.cargo.site/t/original/i/cb5d1deda1ab69be4464bdb22114bed777e72a4b0f47f013339b4a4b6fc78cb8/PEACOCK-X-PRAKSIS_PERFECTION-SPECULATION-PRINT-DOC_BODY-PROTOTYPES_LOW.jpg" data-mid="188686455" border="0" src="https://freight.cargo.site/w/1000/i/cb5d1deda1ab69be4464bdb22114bed777e72a4b0f47f013339b4a4b6fc78cb8/PEACOCK-X-PRAKSIS_PERFECTION-SPECULATION-PRINT-DOC_BODY-PROTOTYPES_LOW.jpg" /> PERFECTION / SPECULATION Identity Map, Future Body Prototype Made by PERFECTION / SPECULATION Clash Group led by Adam Peacock; Marte Aas, Jonathan Armour, Louis Alderson-Bythell, Trinley Dorje, Erika Stöckel, and Bobby Yu Shuk Pu. Available in PDF and Limited Edition A1 Print. Oslo 2023 Available to read here on Issuu <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/5b32a0ecbac9e37039a38cf38ff1b5921822a74dbd1e8d3e9dd3aea452d5baf7/PEACOCK-X-PRAKSIS_PERFECTION--SPECULATION_EXPLORER-MAP-FOLDED.jpg" data-mid="188686497" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/5b32a0ecbac9e37039a38cf38ff1b5921822a74dbd1e8d3e9dd3aea452d5baf7/PEACOCK-X-PRAKSIS_PERFECTION--SPECULATION_EXPLORER-MAP-FOLDED.jpg" /> <img width="768" height="1024" width_o="768" height_o="1024" data-src="https://freight.cargo.site/t/original/i/1a1d84f9471cd515f403e9dfbeaf52c9f95fa915f9f651e1fd3df63b6903591c/0F2FF8FC-CC20-4735-BB4D-644D489BD131_1_105_c.jpeg" data-mid="242267727" border="0" src="https://freight.cargo.site/w/768/i/1a1d84f9471cd515f403e9dfbeaf52c9f95fa915f9f651e1fd3df63b6903591c/0F2FF8FC-CC20-4735-BB4D-644D489BD131_1_105_c.jpeg" /> <img width="768" height="1024" width_o="768" height_o="1024" data-src="https://freight.cargo.site/t/original/i/e08a75bfb9aa7190f5fbd154214979d47ff1ffd0c0eff744765431ea45d55153/8A748A6E-CE8A-4201-B93E-25B120F4B01B_1_105_c.jpeg" data-mid="242286831" border="0" src="https://freight.cargo.site/w/768/i/e08a75bfb9aa7190f5fbd154214979d47ff1ffd0c0eff744765431ea45d55153/8A748A6E-CE8A-4201-B93E-25B120F4B01B_1_105_c.jpeg" /> <img width="885" height="346" width_o="885" height_o="346" data-src="https://freight.cargo.site/t/original/i/74a13727b72a2b05f9c6c8636a5310ea5ea7b0b42eb40e3bc1b6553dc9d6f14d/PERFECTION--SPECULATION_CLASH_10.gif" data-mid="177415892" border="0" data-scale="100" src="https://freight.cargo.site/w/885/i/74a13727b72a2b05f9c6c8636a5310ea5ea7b0b42eb40e3bc1b6553dc9d6f14d/PERFECTION--SPECULATION_CLASH_10.gif" /> <img width="1500" height="832" width_o="1500" height_o="832" data-src="https://freight.cargo.site/t/original/i/2723eabc323ab674d2a22ad54e2e55ad82af53746bf23b71b6cf57550271bab5/PS-RESEARCH.jpg" data-mid="239356547" border="0" src="https://freight.cargo.site/w/1000/i/2723eabc323ab674d2a22ad54e2e55ad82af53746bf23b71b6cf57550271bab5/PS-RESEARCH.jpg" /> PERFECTION/ SPECULATION THE CONVERSATION A series of public, research-led conversations addressed themes of digital identity, algorithmic desirability, and speculative aesthetics, featuring invited interlocutors including Prof. Mark Jarzombek (MIT), Dr Natasha Vita-More (Humanity+), Lucy McRae (SCI-Arc), and Prof. Lev Manovich (CUNY). Vita-More speaks with Peacock about concepts of beauty, the role of ego and the ethics of striving to overcome ageing. Jarzombek discusses the impacts of AI and design technology on perceptions of self, while delivering some tough correctives on questions of state and corporate surveillance and the struggle of ethics to keep pace with market-driven bio-technologies and data access. Manovich reflects on issues of autonomy and originality in relation to social media and the algorithmic mining of big data, and offers important contextual reflections on the history and evolution of information technologies and cultural analytics. McRae discusses what it means to be ‘human’ in a science- and technology-driven world, and advocates for the role of art as a catalyst for experimental, open-ended approaches to the development of knowledge in this area. PERFECTION/ SPECULATIONAT THE VIGELAND MUSEUM <img width="2564" height="1596" width_o="2564" height_o="1596" data-src="https://freight.cargo.site/t/original/i/b823c2138f364c38b434b6658cbcc3a1b6ca727b17e323fa6b9f5c2c64421fdb/PS-AT-VIGELAND.png" data-mid="235452830" border="0" src="https://freight.cargo.site/w/1000/i/b823c2138f364c38b434b6658cbcc3a1b6ca727b17e323fa6b9f5c2c64421fdb/PS-AT-VIGELAND.png" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/b709d194b84903a8252f68c2868cdfa25d7b3dc7af0062847ea8ba3b38f74c0c/Karma_JH_vigeland-0266.jpg" data-mid="238838842" border="0" src="https://freight.cargo.site/w/1000/i/b709d194b84903a8252f68c2868cdfa25d7b3dc7af0062847ea8ba3b38f74c0c/Karma_JH_vigeland-0266.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/b422edc9499f215bc9d478cca37198e33ad292d1c4d7a37e10fae12d453086f2/Karma_JH_vigeland-9577.jpg" data-mid="238838840" border="0" src="https://freight.cargo.site/w/1000/i/b422edc9499f215bc9d478cca37198e33ad292d1c4d7a37e10fae12d453086f2/Karma_JH_vigeland-9577.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/dbf8d8d9d6a7838065f40865205227c1052e984dd2c8b4093cf4f56039651ef8/Karma_JH_vigeland-9454.jpg" data-mid="238838833" border="0" src="https://freight.cargo.site/w/1000/i/dbf8d8d9d6a7838065f40865205227c1052e984dd2c8b4093cf4f56039651ef8/Karma_JH_vigeland-9454.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/ded0fb594e6bd09927fd28478c26e702b1f52448d2458dcb0e995aedd3ce0882/Karma_JH_vigeland-9931.jpg" data-mid="238838836" border="0" src="https://freight.cargo.site/w/1000/i/ded0fb594e6bd09927fd28478c26e702b1f52448d2458dcb0e995aedd3ce0882/Karma_JH_vigeland-9931.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/81c61921667382b352d23ab1e8508b42888fdb6e64981728f45fa26a5e68811e/PERFECTION--SPECULATION_EVENT_03.jpg" data-mid="177415811" border="0" src="https://freight.cargo.site/w/1000/i/81c61921667382b352d23ab1e8508b42888fdb6e64981728f45fa26a5e68811e/PERFECTION--SPECULATION_EVENT_03.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/a06f39f0920128bfda1a52b94df87c10b1ae9df10b0e132f0a6850a0f9424c99/PERFECTION--SPECULATION_EVENT_02.jpg" data-mid="238838837" border="0" src="https://freight.cargo.site/w/1000/i/a06f39f0920128bfda1a52b94df87c10b1ae9df10b0e132f0a6850a0f9424c99/PERFECTION--SPECULATION_EVENT_02.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/7fdd4da8fd6c4b51c62589092065b4e15973181474f72bc91ee0198d8552b4b1/Karma_JH_vigeland-0418.jpg" data-mid="238839335" border="0" 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data-src="https://freight.cargo.site/t/original/i/4b122a80b1fa84b435df9441b785d7bef1d934e7ce3da4b7f7b29ac8dacfcca8/Karma_JH_vigeland-0353.jpg" data-mid="238838886" border="0" src="https://freight.cargo.site/w/1000/i/4b122a80b1fa84b435df9441b785d7bef1d934e7ce3da4b7f7b29ac8dacfcca8/Karma_JH_vigeland-0353.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/062ad9c1504ab1e53628ee80ca62a624e9ae7feb697e31c9dd599cb2084ad993/PERFECTION--SPECULATION_EVENT_05.jpg" data-mid="238840070" border="0" src="https://freight.cargo.site/w/1000/i/062ad9c1504ab1e53628ee80ca62a624e9ae7feb697e31c9dd599cb2084ad993/PERFECTION--SPECULATION_EVENT_05.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/5e10f217808004000fce55b691db53b01a1dfa23c064742a5fbc1c2a7741315a/Karma_JH_vigeland-0943.jpg" data-mid="238839637" border="0" src="https://freight.cargo.site/w/1000/i/5e10f217808004000fce55b691db53b01a1dfa23c064742a5fbc1c2a7741315a/Karma_JH_vigeland-0943.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/0f8e230312805a9e52732d661217fa2183ea167105123ec95bbe050579d9ff53/Karma_JH_vigeland-0701.jpg" data-mid="238839615" border="0" src="https://freight.cargo.site/w/1000/i/0f8e230312805a9e52732d661217fa2183ea167105123ec95bbe050579d9ff53/Karma_JH_vigeland-0701.jpg" /> PERFECTION / SPECULATION PRAKSIS Residency 18: PERFECTION / SPECULATION Developed with, Adam PeacockCollaborators, KarmaKlubb*, The Vigeland Museum, Danai PapadimitriouResidents, Marte Aas (NO), Jonathan Armour (UK), Louis Alderson-Bythell (UK/DK), Trinley Dorje (CA), Saleh Kashefi (IR), Adam Peacock (UK), Erika Stöckel (SE/NO), Lior Tamin (IL) and Bobby Yu Shuk Pui (HK/NO)Research Agenda Lead, Adam PeacockResearch Agenda &amp; Clash Video Project, Marte Aas, Jonathan Armour, Louis Alderson-Bythell, Trinley Dorje, &nbsp;Adam Peacock, Erika Stöckel, Bobby Yu Shuk PuiClash Video Project Edit, Louis Alderson-Bythell, Bobby Yu Shuk PuiResearch Film Creative Direction, Adam PeacockResearch Film on digital ontology and surveillance capitalism, Prof. Mark Jarzombek, Professor of the History and Theory of Architecture at Massachusetts Institute of Technology (MIT)Research Film on transhumanist beauty and the ethics of enhancement, Dr Natasha Vita-More, Executive Director of Humanity+ Inc. and author of The Transhumanist ManifestoResearch Film on speculative body futures and algorithmic imitation, Lucy McRae, science fiction artist and Visiting Professor at SCI-ArcResearch Film on algorithmic homogenisation and cultural analytics, Prof. Lev Manovich, Presidential Professor at The Graduate Center, City University of New York (CUNY)Research Film Videography, Katharina Gellein Viken (NO), Charles KrielResearch Film Edit, Adam Peacock&nbsp;Research Film Assistant, Bobby Yu Shuk PuiResearch Film Produced by, PRAKSISResearch Document Edit, Adam Peacock, Rachel WithersResearch Document Design, Adam Peacock StudiosResearch Document Produced by, PRAKSISP/S at the Vigeland Museum Production,&nbsp;Adam Peacock (UK), PRAKSIS (NO), Karmkalubb* (NO) P/S at the Vigeland Museum Conversation, Adam Peacock (UK), Bobby Yu Shuk Pui (HK/NO), Danja Burchard (DE), Geir Haraldseth (NO), Jonathan Armour (UK), Louis Alderson-Bythell (UK), Maike Staz (AUS), Nicholas John Jones (UK)P/S at the Vigeland Museum Peformances &amp; Drag, Frida Marida (LEB), Brødskive (NO) P/S at the Vigeland Museum DJ, SYNK (NO) P/S at the Vigeland Museum DJ video Karmaklubb* P/S at the Vigeland Museum Photos Julie Hrnčířová Research Visits Made To, BioArt arena in Norway (NOBA), Bioteknologirådet (The Norwegian Biotechnology Advisory Board), Henie Onstad Kunstsenter, Henry Moore Foundation, Menneskeverd (Human Dignity) Online / In-Person Research Presentations From, Department of Archaeology Human Evolutionary Studies University of Cambridge, NFU - Norsk Forbund for Utviklingshemmede (The Norwegian Association for Persons with Intellectual Disabilities), Kreftforeningen (Norwegian Cancer Society), Norwegian University of Science and Technology (NTNU)Perfection / Speculation Guests, Alette Reinholdt, Ana María Bresciani, Daniel Marablanca, Danja Burchard, Maike Statz, Emmer Stower, Hege Tapio, Jarle Strømodden, Jonathan Goodman, Kristin Rudstaden, Ingrid Vatnar Eikje, Sigrid Bratlie, Stine Hufthammer Indrelid, Geir Haraldseth, Frida Marida, Cassie BrøskivePerfection / Speculation Dinner Hosts, PRAKSIS Oslo; Charlotte Teyler, Nicholas John Jones, SuperTed the dogSupported by Oslo Kommune, Kulturdirektoratet <img width="300" height="58" width_o="300" height_o="58" data-src="https://freight.cargo.site/t/original/i/f6017e35dd978a8dcfcf87749fc735d26284a62f6a1de8baa84d780688023a47/PRAKSIS_black_logo.png" data-mid="241232591" border="0" src="https://freight.cargo.site/w/300/i/f6017e35dd978a8dcfcf87749fc735d26284a62f6a1de8baa84d780688023a47/PRAKSIS_black_logo.png" /> <img width="448" height="234" width_o="448" height_o="234" data-src="https://freight.cargo.site/t/original/i/ccfa9b2587c1de3be051242f0324cf1c790a85881a55ce593ccd7d2552abec36/Screenshot-2021-11-28-at-1.40.32-pm.png" data-mid="241232592" border="0" src="https://freight.cargo.site/w/448/i/ccfa9b2587c1de3be051242f0324cf1c790a85881a55ce593ccd7d2552abec36/Screenshot-2021-11-28-at-1.40.32-pm.png" /> <img width="800" height="400" width_o="800" height_o="400" data-src="https://freight.cargo.site/t/original/i/449648e50eb39b66911aacb3a9b7624056b8bfbddbf6693ae0e99b8b2b0180ea/Oslo-logo-sort-RGB-1-1-hvit.png" data-mid="241232590" border="0" src="https://freight.cargo.site/w/800/i/449648e50eb39b66911aacb3a9b7624056b8bfbddbf6693ae0e99b8b2b0180ea/Oslo-logo-sort-RGB-1-1-hvit.png" /> <img width="300" height="51" width_o="300" height_o="51" data-src="https://freight.cargo.site/t/original/i/94d9fece404fd46aa1cc5ed4bacce0c9f8064e73e02d89b7a60312499c87b76f/KR_LOGO_Black.svg" data-mid="241232589" border="0" src="https://freight.cargo.site/w/300/i/94d9fece404fd46aa1cc5ed4bacce0c9f8064e73e02d89b7a60312499c87b76f/KR_LOGO_Black.svg" /> <img width="2481" height="678" width_o="2481" height_o="678" data-src="https://freight.cargo.site/t/original/i/3b582985957287ed2e3950c34c19e8dc50ffc4bd0fabb6491c7e8a77e76e25ae/karmaklubb_b-w.png" data-mid="241232601" border="0" src="https://freight.cargo.site/w/1000/i/3b582985957287ed2e3950c34c19e8dc50ffc4bd0fabb6491c7e8a77e76e25ae/karmaklubb_b-w.png" /> https://adampeacock.co.uk/GENETICS-GYM-2016-20 Tue, 03 May 2022 17:14:22 +0000 ADAM PEACOCK https://adampeacock.co.uk/GENETICS-GYM-2016-20 GENETICS GYM LONDON, 2016-20 GENETICS GYM is a speculative design project commissioned by the Fashion Space Gallery that examines how biotechnology and digital media co-produce new ideals of beauty, identity, and bodily optimisation.GENETICS GYM equates ‘genetic strength’ with the ability to train machines to perceive attractiveness online, presenting five fictional body-customisation brands as provocations. Developed during the 2016 Designer in Residence appointment at London College of Fashion, University of the Arts London (UAL), the work examines how digital media reshapes the body silhouette, shifting the act of ‘fashioning’ the body into new, algorithmically governed terrains.Framed through fashion theory and critical design, the project takes as its point of departure the moment when epigenetics entered wider public consciousness in the early 2010s, particularly following scientific reporting that demonstrated how gene activity could be switched “on” and “off” without altering DNA itself, with direct implications for cancer development. In May 2014, researchers identified a common epigenetic “on–off switch” implicated across multiple cancers, showing how gene expression could be regulated rather than rewritten (ScienceDaily, “Epigenetic switch may be common to many cancers,” 15 May 2014). In the same year, early venture capital interest in epigenetic technologies was evident when the drug-discovery spin-out Zenith Epigenetics raised $8 million in funding&nbsp;to develop epigenetics-based therapies (Venture Capital Journal, 2014). While modest in scale, this investment sat within a much larger global cancer-research economy: in 2014 alone, the&nbsp;U.S. National Cancer Institute operated with a budget of approximately $5 billion, while major public and charitable bodies in the UK and Europe committed&nbsp;hundreds of millions annually&nbsp;to cancer research. Positioned within this multibillion-dollar biomedical infrastructure, epigenetic technology emerged as a credible pathway toward disease suppression and life-extension. Building from this convergence of scientific promise, financial investment, and media visibility, the project speculates on what happens when such tangible biological futures enter public discourse and are progressively translated into wider consumer imaginaries. It asks how technologies first embedded within cancer science are reframed as logics of optimisation, self-enhancement, and desirability, and how they ultimately trickle down into cultural, aesthetic, and lifestyle commodities. Created in collaboration with London College of Fashion’s Digital Anthropology Lab,&nbsp; Applied Psychology in Fashion department and UCL’s Human Genetics and Embryology department, the project comprises five fictional sub-brands that propose speculative regimes for enhancement. These include CRISPR-Cas9 gene editing and epigenetic interventions offering a customisable ‘menu’ of traits—from eye shape to muscle gain—prompting reflection on how ‘genetic strength’ is defined through algorithmic legibility and digital desirability. Following its initial exhibition, the project expanded into a wider programme of international exhibitions, interdisciplinary collaborations, and ongoing research exploring how biotechnology, media infrastructures, and identity intersect in both speculative and applied design contexts. It critiques how algorithms are trained to recognise and reproduce culturally biased ideals of beauty, and the consequences of encoding these into our biological futures. Through sculptural installation, video, graphic illustrations, research documents, and a techno-soundtrack, GENETICS GYM presents a critical, unsettling vision of a future in which fashioned bodies are curated, commodified, and computationally scored. Keywords - Speculative Design, Biotechnology, Genetics, Body Politics, Algorithmic Governance, Identity, Digital Media, Fashion Theory, Posthumanism, Contemporary Sculpture, Bioethics <img width="1820" height="1273" width_o="1820" height_o="1273" data-src="https://freight.cargo.site/t/original/i/c701faff072cb7de9c50aaadedf07e2b59c48d90b2a8088d58eb58250a6306b1/ADAM-PEACOCK_GENETICS-GYM_BIOLOGICALMECHANISM.png" data-mid="141547579" border="0" src="https://freight.cargo.site/w/1000/i/c701faff072cb7de9c50aaadedf07e2b59c48d90b2a8088d58eb58250a6306b1/ADAM-PEACOCK_GENETICS-GYM_BIOLOGICALMECHANISM.png" /> GENETICS GYM – BRAIN-BODY-SOCIETY The initial sketch investigates how cognition of beauty or appeal can be understood as a system of mathematics, semiotics, and signals, mediated through neurobiological responses and their connection to subjectivity and bodily adaptation. <img width="6094" height="3657" width_o="6094" height_o="3657" data-src="https://freight.cargo.site/t/original/i/aae5d1400366db8da213c97986ee617911169110737786aa89458466d9a1129a/ADAM-PEACOCK_GENETICS-GYM_VIDEO-PORTRAIT_GALLERY-VIEW_03.jpg" data-mid="141547580" border="0" src="https://freight.cargo.site/w/1000/i/aae5d1400366db8da213c97986ee617911169110737786aa89458466d9a1129a/ADAM-PEACOCK_GENETICS-GYM_VIDEO-PORTRAIT_GALLERY-VIEW_03.jpg" /> GENETICS GYM – INSTALLATION Video Still Over a 10-minute cycle, the five characters stand side by side, blinking, breathing, and twitching to a bespoke techno soundtrack. Every two minutes, the soundtrack morphs, with each character evolving into a new ideological representation of beauty or aspiration, what the project terms "brands", offering a shifting matrix of speculative identities driven by consumption logic and aesthetic ideology. <img width="2165" height="1316" width_o="2165" height_o="1316" data-src="https://freight.cargo.site/t/original/i/23d0a36c8cacb5cc678ce1fa5bdec01186ca7ee80e39e752841408a257062b75/ADAMPEACOCK_GENETICSGYM_INPROCESS_05.jpg" data-mid="141547581" border="0" src="https://freight.cargo.site/w/1000/i/23d0a36c8cacb5cc678ce1fa5bdec01186ca7ee80e39e752841408a257062b75/ADAMPEACOCK_GENETICSGYM_INPROCESS_05.jpg" /> GENETICS GYM –BODY SCANNING WITH FACIAL TRACKING: CHARACTER FIVETo develop the aesthetic, each character was tested using scanning technologies. <img width="6465" height="3657" width_o="6465" height_o="3657" data-src="https://freight.cargo.site/t/original/i/4e7e8eb52b6f27ff4c6581ed9c3136e5ceaa433dca5c15e3c449e97ce97b85b0/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE_GALLERY-VIEW_06.jpg" data-mid="141547583" border="0" src="https://freight.cargo.site/w/1000/i/4e7e8eb52b6f27ff4c6581ed9c3136e5ceaa433dca5c15e3c449e97ce97b85b0/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE_GALLERY-VIEW_06.jpg" /> GENETICS GYM – INSTALLATION Video Still Visitors stand before five projected bodies, each blinking, breathing, and subtly moving. Filmed at full human scale in 4K and looking directly into the camera, the figures invite the viewer into a moment of intimate, critical reflection. By meeting their gaze, the viewer is prompted to consider how technology is shaping aspiration, identity, and who we are being conditioned to become. <img width="1052" height="627" width_o="1052" height_o="627" data-src="https://freight.cargo.site/t/original/i/6b59d1a2ec25fde3c4e847781420b0f498c269c1df2b5b2dd709e0d1a20cf9ad/ADAM-PEACOCK_GENETICS-GYM_GALLERY-VIEW.jpg" data-mid="235017866" border="0" src="https://freight.cargo.site/w/1000/i/6b59d1a2ec25fde3c4e847781420b0f498c269c1df2b5b2dd709e0d1a20cf9ad/ADAM-PEACOCK_GENETICS-GYM_GALLERY-VIEW.jpg" /> <img width="900" height="699" width_o="900" height_o="699" data-src="https://freight.cargo.site/t/original/i/5189e355a295a98394c0a7c5ceec7959bdda52d3f61e1d4748dd1fa400afd3c8/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE_BRANDS_HD.jpg" data-mid="235062175" border="0" src="https://freight.cargo.site/w/900/i/5189e355a295a98394c0a7c5ceec7959bdda52d3f61e1d4748dd1fa400afd3c8/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE_BRANDS_HD.jpg" />GENETICS GYM – BRAND QUADRANT In critiquing branding and its ideological function, GENETICS GYM borrows the quadrant model commonly used in market research to map and study competing brands. This framework is reimagined to construct five fictional body-customisation brands, each embodying a distinct ideological representation of self. Within this system, characters edit themselves according to the traits offered by each brand, satirising fashion marketing’s role in selling aspirational, optimised identities. The quadrant is structured along two axes: ‘self-centred’ to ‘community-centred’, and ‘visionary’ to ‘populist’. These axes reflect broader tensions between sustainable responsibility and mass consumption, between radical innovation and cultural conformity. The fictional brands shift and fluctuate, but remain positioned in relation to one another, forming a speculative landscape of identity production in an age of identity optimisation. <img width="750" height="450" width_o="750" height_o="450" data-src="https://freight.cargo.site/t/original/i/faab2f76d8e53176823e0bbab898403bd78cd2a19bd420fe44f7cf9c16801366/ADAM-PEACOCK_GENETICS-GYM_VIDEO-PORTRAIT_CHARACTER-ONE-BLINK.gif" data-mid="235029933" border="0" src="https://freight.cargo.site/w/750/i/faab2f76d8e53176823e0bbab898403bd78cd2a19bd420fe44f7cf9c16801366/ADAM-PEACOCK_GENETICS-GYM_VIDEO-PORTRAIT_CHARACTER-ONE-BLINK.gif" /> <img width="12927" height="4618" width_o="12927" height_o="4618" data-src="https://freight.cargo.site/t/original/i/bc628fae85bfcef361fee6a5938677d864a10e831e882e405f8a5cef2fbe5423/ADAM-PEACOCK_GENETICS-GYM_VIDEO-PORTRAIT_CHARACTER-ONE_DETAIL.jpg" data-mid="141547584" border="0" src="https://freight.cargo.site/w/1000/i/bc628fae85bfcef361fee6a5938677d864a10e831e882e405f8a5cef2fbe5423/ADAM-PEACOCK_GENETICS-GYM_VIDEO-PORTRAIT_CHARACTER-ONE_DETAIL.jpg" /> GENETICS GYM – CHARACTER ONE / FIVE BRANDS Composite Video Still Five brands applied to each character:Brand 1 – Unsustainable Luxury ‘Self-Centred Populist’Brand 2 – Punk ‘Manifesto-Visionaire’ Brand 3 – Beautiful Yet Vapid ‘No-Substance-Visionaire’Brand 4 – Mainstream ‘Basic-Pleaser’Brand 5 – Community-Focused ‘Communo-Consumer’ <img width="670" height="1008" width_o="670" height_o="1008" data-src="https://freight.cargo.site/t/original/i/e0ad50a54807196c03f12d0bb672f78dc67004884e22e01abe1aed33e9c6da94/ADAM-PEACOCK_GENETICS-GYM_ILLUSTRATION-SERIES_CHARACTER-ONE.jpg" data-mid="141547586" border="0" src="https://freight.cargo.site/w/670/i/e0ad50a54807196c03f12d0bb672f78dc67004884e22e01abe1aed33e9c6da94/ADAM-PEACOCK_GENETICS-GYM_ILLUSTRATION-SERIES_CHARACTER-ONE.jpg" /> GENETICS GYM – BRAIN-BODY-SOCIETY, CHARACTER TWOBuilding on earlier Brain–Body–Society sketches, each character is accompanied by an illustration mapping their body, brain, and cultural coding onto an architectural–mechanical system. These hybrid diagrams explore how identity can be visualised as an engineered interface between physiology, cognition, and social ideology. For Character Two, this system is further developed into a three-dimensional volume, abstracted into a sculptural form. <img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/d3ba9fbc7385caacc4e2fc3eb0b13d11337deda34091eb3f85892ae50c1c0be2/ADAM-PEACOCK_GENETICS-GYM_ILLUSTRATION-SERIES_CHARACTER-ONE_DETAIL.jpg" data-mid="141547585" border="0" src="https://freight.cargo.site/w/1000/i/d3ba9fbc7385caacc4e2fc3eb0b13d11337deda34091eb3f85892ae50c1c0be2/ADAM-PEACOCK_GENETICS-GYM_ILLUSTRATION-SERIES_CHARACTER-ONE_DETAIL.jpg" /> <img width="1080" height="608" width_o="1080" height_o="608" data-src="https://freight.cargo.site/t/original/i/57b02623ddd2165038a7eb0d35a04957f48e2cc16909e0377f0004a71287907c/2.gif" data-mid="141547595" border="0" src="https://freight.cargo.site/w/1000/i/57b02623ddd2165038a7eb0d35a04957f48e2cc16909e0377f0004a71287907c/2.gif" /> <img width="1080" height="608" width_o="1080" height_o="608" data-src="https://freight.cargo.site/t/original/i/a7066e52ba62e7cc28078c3a5a1ac181f6c4ee4953046579bed21068b99f3878/3.gif" data-mid="141547596" border="0" src="https://freight.cargo.site/w/1000/i/a7066e52ba62e7cc28078c3a5a1ac181f6c4ee4953046579bed21068b99f3878/3.gif" /> GENETICS GYM – BRAND 3 – BEAUTIFUL BUT VAPID ‘NO SUBSTANCE VISIONAIRE’&nbsp; (First GIF excerpt) Characters One, Two, Three (Second GIF excerpt) Characters Three, Four, Five The aim of the art direction was to strike a balance between aesthetic impact and ethical and psychological complexity. Five human models of varied ethnicities, genders, and body types were curated over an extended casting period. Models were selected for visual diversity and their ability to embody speculative narratives around genetic optimisation, with the understanding that their bodies would be digitally altered. Each participant was fully aware that their appearance would be heavily edited and was chosen for their understanding of and comfort with the project’s conceptual and aesthetic goals. To evoke hyperreality, extend the notion of bodily objectification, and amplify the imagined traits of each character, all body hair was removed using prosthetics and digital editing. A conscious decision was made to show nipples across all bodies, regardless of gender presentation, treating each subject identically and challenging social constructs around the censorship of female anatomy. Genitalia was deliberately covered, noting the limitations of distributing photorealistic bodies online and the potential impact this could have on the project’s accessibility beyond its initial exhibition context. The resulting crafted body aesthetic was a sculptural form, allowing ethnicity, frame, and body type to remain central visual markers. Referencing Masahiro Mori’s 1970 theory of the uncanny valley (the unsettling space between recognising someone as a healthy human or a robot), the characters return the viewer’s gaze, prompting discomfort around what has been altered. It was important to work with real human models, rather than CGI avatars, because visual success lies in looking into the character’s eyes and feeling an empty human connection, or sadness, that only a living body can communicate. Subtle movements, including blinking, twitching, and breathing, further enhanced their sense of presence. Influenced by 16th-century still-life lighting, contemporary CGI, and emotionally raw portraiture, the art direction invites reflection on how digital media and bioengineering are reshaping ideals of human beauty, character, fragility and strength. <img width="1049" height="624" width_o="1049" height_o="624" data-src="https://freight.cargo.site/t/original/i/f44f21f2c4f906f73edf36ef38e15900b282be9ebcf7c2715e112370e7298b7a/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE.jpg" data-mid="141547587" border="0" src="https://freight.cargo.site/w/1000/i/f44f21f2c4f906f73edf36ef38e15900b282be9ebcf7c2715e112370e7298b7a/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE.jpg" /> GENETICS GYM – BODY STRATEGY Research Document InstallationResearch document explaining the rationale behind the body silhouette forms. The document maps five characters, each with distinct genetic conditions, including body types, gender expressions, sexualities, ethnicities, personalities, and embodied tensions, and combines them with five branded consumption ideologies. The five characters, combined with five ideologies, produce a matrix of twenty-five unique body-morphed portraits, visualising how identity might be shaped under different ideological conditions. <img width="3370" height="2383" width_o="3370" height_o="2383" data-src="https://freight.cargo.site/t/original/i/9ec7b0c629d352b1a9ef857f164dda1170f2e1366421ac1e823ce22464f64e75/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE_01.jpg" data-mid="141547588" border="0" src="https://freight.cargo.site/w/1000/i/9ec7b0c629d352b1a9ef857f164dda1170f2e1366421ac1e823ce22464f64e75/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE_01.jpg" /> <img width="1080" height="608" width_o="1080" height_o="608" data-src="https://freight.cargo.site/t/original/i/6a6a9909be5843e0008e28e382511a14cf965906249c2581cacb34362e34b1e3/10.gif" data-mid="235017527" border="0" src="https://freight.cargo.site/w/1000/i/6a6a9909be5843e0008e28e382511a14cf965906249c2581cacb34362e34b1e3/10.gif" /> <img width="1500" height="1918" width_o="1500" height_o="1918" data-src="https://freight.cargo.site/t/original/i/0a6a4835cd9d16c9cb3e6b40e831f113c8b1abef76c67bf0faf7e847b67afb15/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE_DETAIL_MENU.jpg" data-mid="235017516" border="0" src="https://freight.cargo.site/w/1000/i/0a6a4835cd9d16c9cb3e6b40e831f113c8b1abef76c67bf0faf7e847b67afb15/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE_DETAIL_MENU.jpg" /> GENETICS GYM – MENU The document features a genetic ‘menu’ of 23 offerings, used to construct the speculative body-morphs. Developed in collaboration with researchers from UCL’s Human Genetics and Embryology department, the menu operates on a sliding scale of scientific feasibility. Each item was cross-referenced against published scientific literature and assigned a feasibility rating from 0 to 5, ranging from 0 (scientifically implausible or “bonkers”) to 5 (plausible according to current research and achievable using existing technologies such as CRISPR or epigenetic editing). This calibrated approach maintains a level of scientific rigour while allowing space to explore visually poetic and conceptually arresting body silhouettes, using the wits of speculative design. In the top-right corner, a pair of cherries references a retro milkshake diner menu, satirising the ease with which consumers are invited to ‘select’ enhancements, highlighting the unsettling possibility of altering one’s body or cognitive disposition with the same casualness as choosing an ice cream. At the bottom-right of the menu, a discreet tag reads “! WARNING: RISK OF DEATH”, intended to read as&nbsp;a dark reminder that such choices, while aestheticised, carry profound ethical, biological, and psychological implications. <img width="1080" height="608" width_o="1080" height_o="608" data-src="https://freight.cargo.site/t/original/i/ae693066ac5b38bdb751fe48f9e9e95ff27a74468e280b65b1c6c3f46bbb0567/19-copy.gif" data-mid="235017535" border="0" src="https://freight.cargo.site/w/1000/i/ae693066ac5b38bdb751fe48f9e9e95ff27a74468e280b65b1c6c3f46bbb0567/19-copy.gif" /> <img width="3370" height="2383" width_o="3370" height_o="2383" data-src="https://freight.cargo.site/t/original/i/cbe55bafd60586e7e70f3f71f11001fc9afc8dffcad1c15afcd860b48121cd51/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE_DETAIL_02.jpg" data-mid="141547589" border="0" src="https://freight.cargo.site/w/1000/i/cbe55bafd60586e7e70f3f71f11001fc9afc8dffcad1c15afcd860b48121cd51/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_DESIGN-RESPONSE_DETAIL_02.jpg" /> GENETICS GYM – BODY STRATEGY DETAIL The genetic ingredient list is mapped across all 25 body portraits, showing which components are applied to each form. Each body is assigned a scientific feasibility score, calculated as a composite of the genetic modifications required to produce each body. Behind the grid, a contour map generates a topographical landscape of feasibility: elevated regions indicate bodies that lie beyond current scientific reach, while lower areas correspond to those that could feasibly be edited today. Even at level 5, such modifications are often constrained by legal and ethical frameworks that vary across national and cultural contexts. This layered visualisation invites viewers to critically navigate a speculative body terrain, defined by the interplay between scientific possibility, political permissibility, and cultural desirability. <img width="1051" height="630" width_o="1051" height_o="630" data-src="https://freight.cargo.site/t/original/i/0c1ef13291efb7622d36e261d9a09d5ec62f471dbff37a3dc92d95be663fdeaa/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_TIMELINE.jpg" data-mid="141547599" border="0" src="https://freight.cargo.site/w/1000/i/0c1ef13291efb7622d36e261d9a09d5ec62f471dbff37a3dc92d95be663fdeaa/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_TIMELINE.jpg" /> GENETICS GYM – THEORETICAL CONTEXT Research Document Installation&nbsp; A second research document outlines five key drivers that define the theoretical scope of the project: Genetic Tech Development, Photographic Tech Development, Shift in Media and Human Interaction, Shift in Public Anxiety, and Perception of Disability (1975–2045). Together, these drivers establish the socio-technical foundations for the emergence of a speculative Genetics Gym, proposing that such a product is not as far-fetched as it may initially appear. By tracing convergences across biotechnology, representation, and cultural anxiety, the study positions the Genetics Gym as a plausible, if provocative, response to current trajectories in optimisation culture and identity engineering. <img width="2000" height="1413" width_o="2000" height_o="1413" data-src="https://freight.cargo.site/t/original/i/7989fffd5727badd2f1ffd0ef4114242ecdb07c5d8b774196dca5ffa2a058c25/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_TIMELINE-1.jpg" data-mid="235017515" border="0" src="https://freight.cargo.site/w/1000/i/7989fffd5727badd2f1ffd0ef4114242ecdb07c5d8b774196dca5ffa2a058c25/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_TIMELINE-1.jpg" /> <img width="3370" height="2383" width_o="3370" height_o="2383" data-src="https://freight.cargo.site/t/original/i/663ce498dba3cc0ffa734978c9bcfe7b481f7cba771d17a86a63f691c591da7e/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_TIMELINE_DETAIL_01.jpg" data-mid="141547592" border="0" src="https://freight.cargo.site/w/1000/i/663ce498dba3cc0ffa734978c9bcfe7b481f7cba771d17a86a63f691c591da7e/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_TIMELINE_DETAIL_01.jpg" /> <img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/76c04a4e0d373bd563c9f4773883397b851fd23eec4d41e20c8006256590c22b/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_TIMELINE_DETAIL_02.jpg" data-mid="235017572" border="0" src="https://freight.cargo.site/w/1000/i/76c04a4e0d373bd563c9f4773883397b851fd23eec4d41e20c8006256590c22b/ADAM-PEACOCK_GENETICS-GYM_RESEARCH-DOC_TIMELINE_DETAIL_02.jpg" /> <img width="2919" height="1792" width_o="2919" height_o="1792" data-src="https://freight.cargo.site/t/original/i/1f9ffbe426e0c19ddf0438353804f6e112f6331322ff79248083f8364f40fcb0/GENETICS-GYM-TIMELINE.jpg" data-mid="235029705" border="0" src="https://freight.cargo.site/w/1000/i/1f9ffbe426e0c19ddf0438353804f6e112f6331322ff79248083f8364f40fcb0/GENETICS-GYM-TIMELINE.jpg" /> GENETICS GYM – BRAIN-BODY-SOCIETY CHARACTER FIVEFor Character Five, the Brain–Body–Society&nbsp;system is extended into a three-dimensional volume and abstracted into a sculptural form, translating their internal logic into a material artefact that imagines an architecture for the complex mechanisms embedded within the cognition of appeal.&nbsp; <img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/e39d1250b07894d9dc52caa86d501604ea6e0229f523511fe2d358da9a7d7037/PEACOCK_GENETICSGYM.gif" data-mid="235017603" border="0" src="https://freight.cargo.site/w/800/i/e39d1250b07894d9dc52caa86d501604ea6e0229f523511fe2d358da9a7d7037/PEACOCK_GENETICSGYM.gif" /> <img width="670" height="1008" width_o="670" height_o="1008" data-src="https://freight.cargo.site/t/original/i/e6cd7c4c74a6b77a81b94435b6a9a4ea29984b4fe0c2b95800ecfc9bd0d8a9f6/ADAM-PEACOCK_GENETICS-GYM_ILLUSTRATION-SERIES_CHARACTER-FIVE.jpg" data-mid="141547582" border="0" src="https://freight.cargo.site/w/670/i/e6cd7c4c74a6b77a81b94435b6a9a4ea29984b4fe0c2b95800ecfc9bd0d8a9f6/ADAM-PEACOCK_GENETICS-GYM_ILLUSTRATION-SERIES_CHARACTER-FIVE.jpg" /> <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/64a01898984b59b5ad9327d01f0daaf65bd32954c48031769b1e8113dc7688e0/ADAM-PEACOCK_GENETICS-GYM_ILLUSTRATION-SERIES_CHARACTER-FIVE_DETAIL_02.jpg" data-mid="235017610" border="0" src="https://freight.cargo.site/w/1000/i/64a01898984b59b5ad9327d01f0daaf65bd32954c48031769b1e8113dc7688e0/ADAM-PEACOCK_GENETICS-GYM_ILLUSTRATION-SERIES_CHARACTER-FIVE_DETAIL_02.jpg" /> GENETICS GYM – CHARACTER FIVE Brand 3: Manifesto-Visionaire - GIF excerpt Within the remit of GENETICS GYM, beauty isn’t limited to physical appearance; it also includes how an individual might perceive and interpret the world. For Character Five, under the Manifesto Visionaire brand, the body modulates genes linked to synaesthetic expression (scientific plausibility: 3.5/5), allowing the character to experience the world through altered sensory perception. In this context, beauty becomes a coping mechanism and a way of shaping one’s embodied perception of reality to better support mental and emotional well-being in a society of constant optimisation. <img width="1080" height="608" width_o="1080" height_o="608" data-src="https://freight.cargo.site/t/original/i/e888729a807c3401ea7e86e3d267ac09ccd422dcaea3b60734af54e60a01b46e/11-copy-2.gif" data-mid="141547597" border="0" src="https://freight.cargo.site/w/1000/i/e888729a807c3401ea7e86e3d267ac09ccd422dcaea3b60734af54e60a01b46e/11-copy-2.gif" /> GENETICS GYM THE CONVERSATION <img width="1500" height="1030" width_o="1500" height_o="1030" data-src="https://freight.cargo.site/t/original/i/cb663842c205bee94acce2ccf34b0ef590eff612a1cc76acaeda5fa1d07f8b63/Should-we-strive-forPERFECTION_--Art-Guide-Australia_2.jpg" data-mid="239025984" border="0" src="https://freight.cargo.site/w/1000/i/cb663842c205bee94acce2ccf34b0ef590eff612a1cc76acaeda5fa1d07f8b63/Should-we-strive-forPERFECTION_--Art-Guide-Australia_2.jpg" /> <img width="1421" height="1261" width_o="1421" height_o="1261" data-src="https://freight.cargo.site/t/original/i/3949e0a418aee04a204ad004965808c6c966238f128aa7d01d31f34a18e120f6/irish-times-2.jpg" data-mid="239025988" border="0" src="https://freight.cargo.site/w/1000/i/3949e0a418aee04a204ad004965808c6c966238f128aa7d01d31f34a18e120f6/irish-times-2.jpg" /> <img width="1500" height="1328" width_o="1500" height_o="1328" data-src="https://freight.cargo.site/t/original/i/98393f6f8deac2415a6f4ea45ef93fe33d70e0ae548b60b5a56d76169f12dcd6/Perfect-humans--good-or-bad_-Science-and-art-examine-tomorrow-s-brave-new-face_crop.jpg" data-mid="239025968" border="0" src="https://freight.cargo.site/w/1000/i/98393f6f8deac2415a6f4ea45ef93fe33d70e0ae548b60b5a56d76169f12dcd6/Perfect-humans--good-or-bad_-Science-and-art-examine-tomorrow-s-brave-new-face_crop.jpg" /> <img width="1500" height="1047" width_o="1500" height_o="1047" data-src="https://freight.cargo.site/t/original/i/4aa656d1703eeece7b6a63bb0116d9e9bf9afdb79cfd167d5148728aaeead17b/Genetics-Gym--S-T-ARTS-Prize_AP.jpg" data-mid="239025990" border="0" src="https://freight.cargo.site/w/1000/i/4aa656d1703eeece7b6a63bb0116d9e9bf9afdb79cfd167d5148728aaeead17b/Genetics-Gym--S-T-ARTS-Prize_AP.jpg" /> <img width="1500" height="844" width_o="1500" height_o="844" data-src="https://freight.cargo.site/t/original/i/df1c438769676e5a17c149c91923353a2e17953a2ed569ae33a5c46d55b42711/PI-APPAREL.png" data-mid="239025965" border="0" src="https://freight.cargo.site/w/1000/i/df1c438769676e5a17c149c91923353a2e17953a2ed569ae33a5c46d55b42711/PI-APPAREL.png" /> <img width="1500" height="840" width_o="1500" height_o="840" data-src="https://freight.cargo.site/t/original/i/d8c6edc6d16414761a616df684ae839e27a44d860cc693cb06d389c88e3489d7/SGD-INTERVIEW.png" data-mid="239025986" border="0" src="https://freight.cargo.site/w/1000/i/d8c6edc6d16414761a616df684ae839e27a44d860cc693cb06d389c88e3489d7/SGD-INTERVIEW.png" /> <img width="600" height="626" width_o="600" height_o="626" data-src="https://freight.cargo.site/t/original/i/f0b543a4dd65c1ef2b1c4e8ff04fe5581b40f69c6839a529a9e8993b62ca1387/IMAGEIE.png" data-mid="239026032" border="0" src="https://freight.cargo.site/w/600/i/f0b543a4dd65c1ef2b1c4e8ff04fe5581b40f69c6839a529a9e8993b62ca1387/IMAGEIE.png" /> <img width="1500" height="1805" width_o="1500" height_o="1805" data-src="https://freight.cargo.site/t/original/i/cc0fc282dbd885539275dc45a747e25c217023ba64a474ac7cb72dbf627aa4b4/ADAM-PEACOCK--consumer-psychology-through-genetic-design.jpg" data-mid="239026029" border="0" 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data-src="https://freight.cargo.site/t/original/i/025b108611fe58e392b3d6f20ecea454b7ed66f30b12099560bdda283592bc0b/Gimnasio-Genetico--Science-Gallery-Monterrey.jpg" data-mid="242381219" border="0" src="https://freight.cargo.site/w/1000/i/025b108611fe58e392b3d6f20ecea454b7ed66f30b12099560bdda283592bc0b/Gimnasio-Genetico--Science-Gallery-Monterrey.jpg" /> GENETICS GYM - FURTHER DETAIL As part of the research phase, a public programme entitled Designing Sex was conceived, curated, and led as an interdisciplinary research residency at London College of Fashion. This included a symposium that brought together experts across genetics, public health, speculative design, plastic surgery, and digital cuture to collaboratively imagine how cultural attitudes, digital aesthetics, and emerging biotechnologies might converge into future identity products. Contributors included Prof. Joyce Harper and Dr Helen C. O’Neill (UCL), Dr Agi Haines (CogNovo Lab at Plymouth University), Duncan Stephenson (Royal Society for Public Health), Dr Barry M. Jones (Royal College of Surgeons), and Henrique Mathias (Feeld). The event staged a post-disciplinary dialogue around beauty, body image, synthetic biology, and algorithmic desirability, raising urgent questions around reproductive ethics, gene editing, digital dating, and cultural aesthetics. Following the symposium, a Speculative Body Workshop invited selected students from LCF and UCL, across fashion, psychology, and genetics, to explore self-redesign through speculative prototyping. Ideas generated, ranging from neotenic body edits to visual synaesthesia and golden-ratio-driven biometrics, informed the development of the five characters within The Genetics Gym. The workshop also surfaced disturbing continuities between contemporary optimisation cultures and early eugenicist aesthetics, reinforcing the need for critical frameworks in the face of accelerating biotechnologies.GENETICS GYM has been recognised internationally for its critical engagement with genetic technologies, identity politics, and speculative design. Cited in public debates on CRISPR ethics and featured in the BBC iPlayer documentary DNA + Beauty, the project has contributed to broader cultural conversations on algorithmic bias, bodily autonomy, and the aesthetics of enhancement in the context of emerging genetic and artificial intelligence technologies. Its nomination for the S+T+ARTS Prize by Ars Electronica in Austria led to a series of international exhibitions and public programmes, including presentations at Science Gallery Melbourne, Dublin, and Monterrey, each accompanied by talks, symposia, and interdisciplinary panels. The project has informed institutional research at UCL and UAL, shaped the thematic and conceptual foundation of the PERFECTION / SPECULATION residency at PRAKSIS Oslo, and continues to be referenced as a model for socially engaged, speculative approaches to biotechnological futures. It has been exhibited at Fashion Clash Festival in Maastricht, presented as the opening keynote at Product Innovation Apparel in Milan, developed into speculative body workshops for the MA Fashion programme at the Royal College of Art, and informed future-facing curricula within the MA Fashion Futures course at London College of Fashion (UAL), where it shaped the Speculative Prototyping unit. It also informed teaching at the School of International Art in Beijing for the course Future of Fashion, Identity and the Metaverse. Its research was published by Bloomsbury in Crafting Anatomies: Archives, Dialogues, Fabrications, where it anchors a chapter on speculative design and the politics of bodily modification. It is regularly cited as a benchmark for post-disciplinary, socially engaged approaches to design, media, and biotechnology, particularly in the context of aesthetically led biofutures. SINCE THE GENETICS GYM Since the project was first shown at the Fashion Space Gallery at UAL in 2017, the landscape of applied genetic technology has shifted dramatically, moving from speculative design to mainstream application.&nbsp;These developments reflect ongoing culturally-negotiated concepts of desirability, health, and disability, forming a complex entanglement of aesthetics, ethics, and biopolitics: In 2018, Chinese scientist He Jiankui shocked the world by producing the first CRISPR-edited babies, modifying the CCR5 gene in an attempt to make them resistant to HIV. His actions were met with widespread condemnation and led to his imprisonment.In 2020, the US Food and Drug Administration approved Luxturna, the first in vivo gene therapy for a genetic disease, signalling a new era in the commercialisation of gene-editing technologies.In 2021, the World Health Organization released its first global recommendations on human genome editing, calling for robust ethical governance in response to rapidly advancing technologies.In 2022, Colossal Biosciences announced its intention to resurrect the woolly mammoth using CRISPR, reframing gene-editing as a tool of speculative ecological intervention.In 2023, the UK announced plans to sequence the genomes of 100,000 newborns from 2024, triggering renewed public debate around consent, surveillance, and the commodification of genetic futures.Also in 2023, the US National Human Genome Research Institute began funding research into the ethics of polygenic embryo screening, raising concerns about how such practices may reinforce inequalities by enabling the selection of socially privileged traits.In 2025, early clinical trials of CRISPR-based treatments for rare metabolic and neurological disorders began enrolling patients in Europe and Asia, while AI-assisted genome interpretation tools saw widespread uptake in hospitals, prompting fresh concerns about algorithmic bias and the medicalisation of data-driven identities.It becomes increasingly important that wider audiences, and publics, not limited to academic context, join the discussion as active participants in shaping the ethical, aesthetic, and political frameworks that surround the conversation as it coninues to unfolds. GENETICS GYM Commissioned by the Fashion Space Gallery Creative Director - Adam PeacockProject Management - Fashion Space Gallery TeamResearch Research Lead - Adam PeacockApplied Psychology Consultant - Prof. Carolyn Mair (Psychology of Fashion, London College of Fashion)Genetic Technology Consultants -&nbsp;Prof. Joyce Harper and Dr. Helen C. O’Neill (UCL Institute for Women’s Health)Genetic Technology Research - Ashley Campbell, Liane Stein (MSc. Reproductive Science and Women’s Health, UCL)Research Assistants - Dian-Jen Lin, Isabela Branca Gygax, Lara Gill (MA Fashion Futures, London College of Fashion)&nbsp; Research Workshop Attendees, Design - Dian-Jen Lin, Hew Wang, Jo Cope, Siyang Meng, Voranida Rujekitnara, Yuqing Lai (MA Fashion Artefact, MA Fashion Womenswear, London College of Fashion), Anderson Dalle Laste (MA Graphic Design, London College of Communication)Research Workshop Attendees, Psychology - Prof. Roberta Degnore (Fashion Institute of Technology NYC), David Adams, James Boag (MSc Psychology of Fashion, London College of Fashion) Research Workshp Attendees, Genetic Technology -&nbsp;Dr. Helen C. O’Neill, Ashley Campbell, Liane Stein, Rachel Ho&nbsp;(MSc. Reproductive Science and Women’s Health, UCL)Research Workshop Photography - Celia Tang (MA Fashion Photography, London College of Fashion) Research Symposium Chairs - Adam Peacock &amp; Lynne Murray (Director, Digital Anthropology Lab, Univeristy of the Arts London) Research Symposium, on Social Policy &amp; Mental Health - Duncan Stephenson (Royal Society for Public Health)Research Symposium, on Genetic Technology - Prof. Joyce Harper and Dr. Helen C. O’Neill (UCL Institute for Women’s Health)Research Symposium, on Synthetic Biology &amp; Speculative Bodies -&nbsp;Dr. Agatha Haines (Cognovo Research Lab, Plymouth University)Research Symposium, on Plastic Surgery - Dr. Barry M. Jones (Royal College of Surgeons)Research Symposium, on Computer Science - Henrique Mathias (Feeld)ProductionVideography, Post-Production, Styling - Adam Peacock&nbsp;Sound Artist - Timothy Wang aka TWANGMakeup Artist - Tamara Dickson-Jones (BA Hair, Make-up and Prosthetics for Performance, London College of Fashion)Production Assistants - Celia Tang, Dian-Jen Lin, Isabela Branca Gygax, Lara Gill (MA Fashion Futures, London College of Fashion)Technical Equipment - Adam Grice, Alex Burgess,&nbsp;Dimitrios Coumados,&nbsp;James Montgomery,&nbsp;Kate AllenModel Casting - Adam PeacockModel Number One - Wing Yue LeungModel Number Two - Hermione Fallow CallowModel Number Three - Brendan HowleyModel Number Four - Thomas Wade NicholsModel Number Five - John KamauGraphic Illustrations Drawings - Adam PeacockGraphic Illustrations Printing - theprintspaceResearch Document Production -&nbsp;Adam Peacock DisseminationExhibition Design - Adam PeacockTechnical Install - Fergus O’Connor, Manoj Mistry, Steven LeggetExhibition &amp; Behind-The-Scenes Photography &amp; Videography - Adam Peacock, Dian-Jen Lin, Isabela Branca Gygax, James Sanders, John Duff Exhibition &amp; Behind-The-Scenes Photography &amp; Videography Edit - Adam Peacock,&nbsp;Isabela Branca GygaxSelected Project Engagement2022, Exhibited at&nbsp;JUMPSTART Science Gallery Monterrey, Mexico 2021, Awarded nomination&nbsp;S+T+ARTS Prize, Ars Electronica Linz, Austria 2020-21, Forms the ideological and research frameworks for residency&nbsp;PERFECTION / SPECULATION, PRAKSIS Oslo, Norway 2020, Published as a chapter within&nbsp;Crafting Anatomies by Bloomsbury Academic2019, Featured in&nbsp;Image.ie, Ireland2019, Featured in The Irish Times 2019, Profiled in In Pursuit of PERFECTION, Science Gallery Dublin 2019, Exhibited at&nbsp;Science Gallery Dublin, Ireland, for PERFECTION 2018, Reviewed in&nbsp;The Conversation, Australia 2018, Featured in&nbsp;Art Guide Australia 2018, Featured in&nbsp;The Age, Australia 2018, Exhibited at&nbsp;Science Gallery Melbourne, Australia, for PERFECTION 2018, Awarded the&nbsp;2018 Robert Garland Treseder Fellowship at Melbourne School of Design, University of Melbourne, Australia 2018, Opening keynote speech&nbsp;at Product Innovation Apparel Milan, Italy 2018, Featured by&nbsp;BBC iPlayer in ‘DNA+Beauty’2017, Interviewed by&nbsp;CLOT Magazine 2017, Exhibited at&nbsp;Fashion Space Gallery, London College of Fashion 2016, Genetics Gym Research agenda forms the symposium ‘Designing Sex’ at&nbsp;Fashion Space Gallery, London College of FashionProject Support&nbsp;Fashion Space Gallery UAL, Digital Anthropology Lab UAL,&nbsp; Institute for Women’s Health&nbsp;UCLThis project was made possible through the generous conversations, critiques, ideas, wisdom, energy, and patience of many individuals, including: Adrien Weinert, Alex McIntosh, Charalambos Demetriou, Charlotte Baker, Dai Rees, Eelko Moorer, Frances McGarry, Janne Baetsen, Lara Sanjar, Mouhannad Al-Sayegh, Neil Hubbard, Nigel Luck, Nilgin Yusuf, Peter Hill, Susan Postlethwaite, Ted Hunt, Yener Bayramoglu, Zowie Broach <img width="2362" height="954" width_o="2362" height_o="954" data-src="https://freight.cargo.site/t/original/i/f81e87c04a5517008f711f9e2627dfe60d3f947dcce492b39a7240fecca92eba/UAL-LOGO.jpg" data-mid="241232654" border="0" src="https://freight.cargo.site/w/1000/i/f81e87c04a5517008f711f9e2627dfe60d3f947dcce492b39a7240fecca92eba/UAL-LOGO.jpg" /> <img width="1042" height="280" width_o="1042" height_o="280" data-src="https://freight.cargo.site/t/original/i/ec660ecde730323ee4af5a9d7b2dc7601f9bf5b0cc0eef63a2d68e656532a2b8/FSG.png" data-mid="241232731" border="0" src="https://freight.cargo.site/w/1000/i/ec660ecde730323ee4af5a9d7b2dc7601f9bf5b0cc0eef63a2d68e656532a2b8/FSG.png" /> <img width="1280" height="375" width_o="1280" height_o="375" data-src="https://freight.cargo.site/t/original/i/8ab9b9666b1b96b1cbf56cee86931701bfaa8de935486051173615a6ce10aca2/University_College_London_logo.svg.png" data-mid="241232660" border="0" src="https://freight.cargo.site/w/1000/i/8ab9b9666b1b96b1cbf56cee86931701bfaa8de935486051173615a6ce10aca2/University_College_London_logo.svg.png" /> <img width="1024" height="331" width_o="1024" height_o="331" data-src="https://freight.cargo.site/t/original/i/dde5483aa161315b7b66655fe32110d3a7719ecf504ab6bb018043e4e7685de6/DAI_MASTER_RGB-1024x331.png" data-mid="241232657" border="0" src="https://freight.cargo.site/w/1000/i/dde5483aa161315b7b66655fe32110d3a7719ecf504ab6bb018043e4e7685de6/DAI_MASTER_RGB-1024x331.png" />