ADAM PEACOCK

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	<title>ADAM PEACOCK</title>
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		<title>About</title>
				
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	&#60;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" /&#62;PERFECTION / SPECULATION in conversation with Natasha Vita-More at the Vigeland Museum, OsloPhoto Katharina Gellein Viken &#38;amp; Charles Kriel
	Adam Peacock is an artist, designer, researcher and consultant working across visual culture, new media and design. He is a UK Research &#38;amp; Innovation-supported doctoral researcher in Visual Cultures at Goldsmiths, University of London, where his practice-based PhD investigates how integrating artificial intelligence into digital platforms, particularly Grindr, shapes queer masculine subjectivity. His research brings together speculative design, critical AI studies and visual culture to examine the relationships between platform economies, identity and desire.His work has been exhibited internationally, including at the Fashion Space Gallery London, Science Gallery Melbourne, the Royal Scottish Academy Edinburgh, Tecnológico de Monterrey, the Vigeland Museum Oslo, the Visible Futures Lab New York and London Fashion Week. He has taught and lectured at the Royal College of Art, London College of Fashion, and Melbourne School of Design. His work has been featured by the BBC, The Guardian, The Irish Times and Art Guide Australia, and published by Bloomsbury Academic, among others.
  

	&#60;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" /&#62;THE VALIDATION JUNKY at RAM Gallery, Oslo 
Photo Mathilde Velvin
 

860 words – 


Adam Peacock (he/him/his) is an artist, designer, researcher and consultant whose work explores the relationships between technology, identity, desire, and behaviour. His practice includes speculative design, visual culture, exhibitions, design research, and strategic consultancy, with a focus on artificial intelligence, digital platforms, and the cultural effects of emerging technologies.
Education and Background – Peacock studied architecture at the Bartlett School of Architecture, University College London (UCL), before completing an MA in Design Interactions at the Royal College of Art (RCA). His early professional experience included architectural projects with Heatherwick Studio on Azabudai Hills in Tokyo, Amanda Levete Architects on the V&#38;amp;A Exhibition Road Quarter in London, and WilkinsonEyre on CIBC Square in Toronto, before a design leadership role developing concept design packages for the NEOM megacity in Saudi Arabia. His architectural background has informed his following work in speculative design and design research, particularly his use of spatial, sculptural, computational and systems-based approaches to investigate social and technological change.
Design Research Laboratory – During his MA at the Royal College of Art, Peacock developed THE VALIDATION JUNKY, a human-centred design research laboratory focusing on a hypothetical character whose identity and behaviour are shaped by technological mediation. The project applies design systems methodologies to contemporary bodies, subjectivities, and identities, investigating how platform economies, artificial intelligence, financialisation, and algorithmic optimisation shape cultural behaviour. Projects developed through his laboratory include MACHINES FOR AUTOMATING TASTE (2015-16), commissioned by the Visible Futures Lab at the School of Visual Arts in New York City, which used designed artefacts and graphic illustrations to explore how artificial intelligence synthesises aesthetic sensibilities; THE GENETICS GYM (2016-20), commissioned by the Fashion Space Gallery at the University of the Arts London (UAL), developed in collaboration with UAL’s Digital Anthropology Lab and UCL’s EGA Institute for Women’s Health, which speculated upon the biological body as a malleable interface shaped by media cultures; and PERFECTION/SPECULATION (2019-23), developed in collaboration with PRAKSIS Oslo, the Vigeland Museum and Karmaklubb*, with contributions from interlocutors from the Massachusetts Institute of Technology (MIT), the City University of New York (CUNY) and the Southern California Institute of Architecture (SCI-Arc), examining new media, biotechnology, constructions of beauty and the relationship between individual self-fashioning and social expectations. Peacock’s recent work has focused on artificial intelligence and digital platform cultures. The first output from his ongoing doctoral research, RESISTING OPTIMISATION (2026-), investigates the computational systems that digital platforms organise identity, visibility and desire.
Exhibitions and Awards – Peacock’s work has been exhibited and presented internationally at institutions and events including Tecnológico de Monterrey, Trinity College Dublin, Science Gallery Melbourne, Arebyte Gallery in London, Product Innovation Apparel in Milan, FASHIONCLASH in Maastricht, the Royal Scottish Academy in Edinburgh and London Fashion Week. Peacock was awarded 2015 Artist in Residence at the Visible Futures Lab, School of Visual Arts, New York, and 2016 Designer in Residence at Fashion Space Gallery, University of the Arts London. In 2018, he was awarded the Robert Garland Treseder Fellowship at the University of Melbourne. He was a finalist for the S+T+ARTS Prize in 2021, a European Commission initiative presented in association with Ars Electronica, and finalist for the Lumen Prize in 2024. His work and research have been featured by the BBC, The Guardian, The Irish Times, and Art Guide Australia, and published by Bloomsbury Academic, among others.
Teaching and Strategic Consultancy – Peacock has taught and lectured internationally in visual culture, architecture, fashion and speculative design. He has taught at the Royal College of Art, across its School of Arts &#38;amp; Humanities and School of Communication &#38;amp; Design, as well as Central Saint Martins, the Southern California Institute of Architecture, London College of Fashion and Melbourne School of Design, and a visiting professor at the School of International Art in Beijing. As a Robert Garland Treseder Fellow at the University of Melbourne, he developed and co-led the Architecture-Fashion Lab for Master of Architecture students. Alongside his artistic and academic work, Peacock undertakes design research and strategic consultancy for cultural, academic and commercial organisations. His industry projects have included work with Audi AG, Stella McCartney, Accenture, Science Gallery Network, Fiat Centro Stile and Stellantis. His practice uses speculative systems thinking and design research to translate cultural, social, and technological insights into strategic frameworks, research methodologies, and narratives for future developments across fashion, automotive design, urban environments, and technology.
Doctoral Research – Peacock is a doctoral researcher in Visual Cultures at Goldsmiths, University of London, supported by UK Research and Innovation (UKRI). His doctoral project, Toxic Queer Masculinities – Tools for Navigating AI-Integrated Subjectivity, investigates how artificial intelligence and algorithmic systems shape queer masculine subjectivity across digital platforms, with Grindr’s emerging AI integration serving as a central case study. The research examines how data extraction, algorithmic visibility and optimisation influence the formation of identity and desire. Drawing on visual culture, queer theory, critical artificial intelligence studies, computational methods and speculative design, the project combines theoretical analysis with practice-based outputs to investigate the cultural, economic and political implications of AI-mediated identity. It also explores how design research might inform future approaches to fashion systems, communication frameworks, platform ecosystems and artificial intelligence industries.


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		<title>CONTEXTS</title>
				
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Selected contexts of long-term engagements, invited roles, and research-informed contributions across cultural, academic, and applied domains
Universities, Schools &#38;amp; Teaching ContextsArchitectural Association (AA), LondonArtCenter College of Design, Los Angeles 
Bartlett School of Architecture, University College London (UCL)Beaconhouse National University, Lahore
Berghs School of Communication, StockholmCentral Saint Martins, University of the Arts London (UAL)
Goldsmiths, University of LondonKing’s College LondonLiverpool John Moores University, UK

London College of Fashion, University of the Arts London (UAL)
Melbourne School of Design, University of MelbourneNorwegian University of Science and Technology, Trondheim (NTNU)Universidad Nacional de Educación a Distancia, Madrid (UNED)
Pratt Institute, New York CityProsjektskolen Kunstskole, OsloRhode Island School of Design (RISD)
Royal College of Art, LondonSchool of International Art (SIA), Beijing

School of Visual Arts (SVA), New York CitySouthern California Institute of Architecture (SCI-Arc), Los AngelesWinchester School of Art, University of Southampton

Research Centres, Labs &#38;amp; Academic PlatformsBioArt Arena Norway (NOBA)Bioteknologirådet – The Norwegian Biotechnology Advisory Board
CUNY Cultural Analytics Lab (City University of New York)

Department of Archaeology, Human Evolutionary Studies, University of CambridgeDigital Anthropology Lab, University of the Arts London (UAL)Digital Learning Lab, London College of Fashion, University of the Arts London (UAL)
EGA Institute for Women’s Health, University College London (UCL)Ethical Dating Online Research Group, University of Leeds
Fab Lab, University of Melbourne 
Goldsmiths Centre for Invention and Social Process (CISP)Goldsmiths Computing Department (Critical AI Cluster)Grupo de Estudios Críticos Urbanos (Critical Urban Studies Group) (GECU)Henry Moore Foundation
Kreftforeningen (The Norwegian Cancer Society)Massachusetts Institute of Technology, Department of Architecture – History, Theory and Criticism (MIT HTC)The Love Tank CIC
Cultural Institutions &#38;amp; Exhibition PlatformsArebyte Gallery, LondonArs Electronica, Linz
East Street Arts, LeedsFashion Space Gallery, University of the Arts London (UAL)
Karmaklubb*, Oslo

PRAKSIS OsloRAM Galleri, OsloRoyal Scottish Academy, EdinburghScience Gallery Dublin, Trinity College DublinScience Gallery Melbourne, University of Melbourne
Science Gallery Monterrey, Tecnológico de Monterrey
Science Gallery NetworkSKOG Art Space, Oslo

Vigeland Museum, Oslo

Visible Futures Lab, School of Visual Arts (SVA), New York City 

Festivals &#38;amp; Public ProgrammesArs Electronica Festival
Artlogic Connect
FASHIONCLASH, Maastricht
London Fashion Week
Lumen PrizeProduct Innovation Apparel, Milan

The Love Hub, The Love Tank CIC


An academic CV is available here

A portfolio of selected industry consulting projects is available on request
	

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		<title>PHD RESOURCES</title>
				
		<link>https://adampeacock.co.uk/PHD-RESOURCES</link>

		<pubDate>Mon, 22 Jun 2026 14:04:29 +0000</pubDate>

		<dc:creator>ADAM PEACOCK</dc:creator>

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	Tools for Navigating AI-Integrated Subjectivity
Research Resources 2026


BODY-DESIGN-SYSTEMS
&#38;gt;&#38;gt;Cheat Sheet&#38;lt;&#38;lt;

Assetisation – Turning bodies, identities, data or desire into economic assets. (Rosamond, 2023)
Bodywork – The labour of shaping and managing the body within platform systems and neoliberal economies. (Hakim, 2018)
Data Capitalism – Turning human activity and data into profit-generating resources. (Couldry &#38;amp; Mejias, 2019)
Decomputing – Resisting or reducing computational mediation and optimisation. (McQuillan, 2023)
EdgeRank Algorithm – A system for sorting and editing what content users see in their feeds. (Bucher, 2012)
Genetics &#38;amp; Memetics – How biological and cultural traits are inherited and reproduced. (Dawkins, 1976)
Instrumentarian Power – Shaping and modifying behaviour through data collection and algorithmic monitoring. (Zuboff, 2019)
Libertarian Paternalism – Choice architecture to influence behaviour while presenting it as freedom. (Thaler &#38;amp; Sunstein, 2008)
Panopticon – Surveillance that encourages people to regulate themselves. (Bentham, 1791, and Foucault, 1977)
Platformisation – How social life becomes organised through digital platforms. (Nieborg &#38;amp; Poell, 2018)
Spornosexual – A hyper-muscular masculine ideal shaped by sport, porn and social media. (Simpson, 2011, and Hakim, 2018)
Synopticon – The many watching and emulating the few. (Mathiesen, 1997)
Uncanny Valley – The unsettling feeling produced when a human-like figure appears almost, but not entirely, human. (Mori, 1970)


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Peacock, Adam. RESISTING OPTIMISATION 00-3. February 2026. Machine and hand-drawn oil paint on Stainless Steel, 124 x 174cm, 16 Tiles. https://adampeacock.co.uk/RESISTING-OPTIMISATION-2026.


Peacock, Adam. RESISTING OPTIMISATION 00-10. February 2026. Machine and hand-drawn oil paint on Stainless Steel, 88 x 64 cm, 16 Tiles. https://adampeacock.co.uk/RESISTING-OPTIMISATION-2026.


Peacock, Adam. THE VALIDATION JUNKY (2023). October 2023. Mixed Media Gallery Installation. https://adampeacock.co.uk/THE-VALIDATION-JUNKY-2022-23.


Peacock, Adam. THE VALIDATION JUNKY, Manifesto Drawing. 2014. https://adampeacock.co.uk/THE-VALIDATION-JUNKY-2013-15.Peacock, A. (2020) ‘The Genetics Gym’, in Townsend, K., Solomon, R. and Briggs-Goode, A. (eds.) Crafting Anatomies: Archives, Dialogues, Fabrications. London: Bloomsbury Academic, pp. 155–166.


Peacock, Adam. VALIDERINGSSØPPELET. October 2023. Digitally-drawn giclee print on Hahnemühle Photo Rag Installation of nine frames, 1 of 1, 332(h) x 242 (w)cm. https://adampeacock.co.uk/THE-VALIDATION-JUNKY-2022-23.


Peacock, Adam. WE ARE WHAT THE INTERNET MAKES US. October 2023. 4k Digital Sculpture Moving Image 10 mins 1 of 5. https://adampeacock.co.uk/THE-VALIDATION-JUNKY-2022-23.


Peacock, Adam, and PRAKSIS. PERFECTION / SPECULATION. 2021. https://adampeacock.co.uk/PERFECTION-SPECULATION-2019-21.


Petrarca, Emilia. ‘Lil Miquela’s Body Con Job’. The Cut, 11 May 2018. https://www.thecut.com/2018/05/lil-miquela-digital-avatar-instagram-influencer.html.


Poell, Thomas, David Nieborg, and José Van Dijck. ‘Platformisation’. Internet Policy Review 8, no. 4 (2019). https://doi.org/10.14763/2019.4.1425.


Poole, Steven. Trigger Happy: The Inner Life of Videogames. Rev. ed. Fourth Estate, 2001.


Rodriguez, Mathew. ‘Grindr Is Testing a Premium AI Tier With a $500 Monthly Price Tag &#124; Them’. 5 February 2026. https://www.them.us/story/grindr-premium-ai-tier-500-monthly-price-tag.


Rosamond, Emily. ‘To Sort, to Match and to Share: Addressivity in Online Dating Platforms’. Journal of Aesthetics &#38;amp; Culture 10, no. 3 (2018): 32–42. https://doi.org/10.1080/20004214.2017.1400864.


Rosamond, Emily. ‘YouTube Personalities as Infrastructure: Assets, Attention Choreographies and Cohortification Processes’. Distinktion: Journal of Social Theory 24, no. 2 (2023): 254–82. https://doi.org/10.1080/1600910X.2023.2185873.


Rosenfeld, Michael J., Reuben J. Thomas, and Sonia Hausen. ‘Disintermediating Your Friends: How Online Dating in the United States Displaces Other Ways of Meeting’. Proceedings of the National Academy of Sciences 116, no. 36 (2019): 17753–58. https://doi.org/10.1073/pnas.1908630116.


Sample, Ian, and Ian Sample Science editor. ‘Chinese Scientist Who Edited Babies’ Genes Jailed for Three Years’. World News. The Guardian, 31 December 2019. https://www.theguardian.com/world/2019/dec/30/gene-editing-chinese-scientist-he-jiankui-jailed-three-years.


Schumacher, Patrik. ‘Parametricism: A New Global Style for Architecture and Urban Design’. Architectural Design 79, no. 4 (2009): 14–23. https://doi.org/10.1002/ad.912.


SCRY. ‘SCRY’. Accessed 7 September 2026. https://scccccry.com/.


Thaler, Richard H., and Cass R. Sunstein. Nudge: The Final Edition. Final edition. Yale University Press, 2021.


‘The Uncanny Valley: The Original Essay by Masahiro Mori - IEEE Spectrum’. Accessed 22 September 2026. https://spectrum.ieee.org/the-uncanny-valley.


Thompson, Nye. «The Seeker» Words That Remake The World. 2016. https://nyethompson.net/works/the-seeker.html.


Union of Equality: LGBTIQ Equality Strategy 2020-2025 (2020). https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX%3A52020DC0698&#38;amp;utm_source=chatgpt.com.


Van Dijck, José, Thomas Poell, and Martijn De Waal. The Platform Society. 1st edn. Oxford University PressNew York, 2018. https://doi.org/10.1093/oso/9780190889760.001.0001.


Vita-More, Natasha. ‘The Transhumanist Manifesto’. Humanity+, 1983. https://www.humanityplus.org/the-transhumanist-manifesto.


Wiener, Norbert. Cybernetics or Control and Communication in the Animal and the Machine. 1948; The MIT Press, 2019. https://doi.org/10.7551/mitpress/11810.001.0001.


Wren, Christopher. ‘A Plan of the City of London’. London Museum, 1666. https://www.londonmuseum.org.uk/collections/v/object-466275/a-plan-of-the-city-of-london-after-the-great-fire-in-the-year-of-our-lord-1666-according-to-the-design-and-proposal-of-sir-christopher-wren-kt-for-rebuilding-it/.


Zuboff, Shoshana. The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power. Profile books, 2019.


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		<title>CV</title>
				
		<link>https://adampeacock.co.uk/CV</link>

		<pubDate>Wed, 14 Aug 2024 09:36:19 +0000</pubDate>

		<dc:creator>ADAM PEACOCK</dc:creator>

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		<description>
	
	
ACADEMIC CV – ADAM PEACOCK  2026


	Research Profile&#38;nbsp;

Research focuses on algorithmic identity and cultural infrastructures, exploring 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 &#38;amp; Architecture (2006–07), Central Saint Martins, University of the Arts London (UAL), UK. 


Select Academic Positions

– Visiting Lecturer (2024–ongoing), Royal College of Art, London, UK, lectures for the School of Arts &#38;amp; Humanities and the&#38;nbsp;School of Communication &#38;amp; Design.
– 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, Keynotes &#38;amp; Conferences


– Conference Presentation (upcoming/2026), ‘RESISTING OPTIMISATION: Artificial Intelligence, Queer Masculinity, and the Construction of Digital Subjectivity’,&#38;nbsp;Universidad Nacional de Educación a Distancia (UNED), Madrid, Spain. II International Conference: Cartographies of Platform Labour in the Digital City, organised by&#38;nbsp;Grupo de Estudios Críticos Urbanos (Critical Urban Studies Group).– Lecture (upcoming/2026), ‘THE VALIDATION JUNKY — Tools for navigating AI-mediated subjectivity’, Central Saint Martins, University of the Arts London, UK,  for MA Material Futures, invited by Dr Agi Haines.
– Lecture (2026),&#38;nbsp;‘THE VALIDATION JUNKY — Tools for navigating AI-mediated subjectivity’, Royal College of Art, London, UK, for Dr Gareth Polmeer’s cross-RCA Synthetic Encounters Elective: ‘Shapeshifting the Digital’ at the School of Arts and Humanities.

– Lecture (2026),&#38;nbsp; ‘THE VALIDATION JUNKY — Tools for navigating AI-mediated subjectivity’, Royal College of Art, London, UK,&#38;nbsp;for MA Fashion, with 


Viktoria Modesta, Carlo Volpi and Philip Delamore, invited by Zowie Broach, Head of Programme: MA Fashion at the RCA. 

– Conference Presentation (2026), ‘RESISTING OPTIMISATION: Artificial Intelligence, Queer Masculinity, and the Construction of Digital Subjectivity’,&#38;nbsp;King’s College London, UK. Bodies in Digital Transition: Mapping a Topology of Digital Bodies.
– Conference Presentation (2026), ‘Toxic Queer Masculinities, Tools for navigating AI-integrated subjectivity.’&#38;nbsp;University of Lincoln, UK, ‘The Future of the Social Sciences‘.– Lecture (2025),  ‘THE VALIDATION JUNKY’, Royal College of Art, London, UK, Dr Gareth Polmeer’s cross-RCA Synthetic Encounters Elective: ‘Shapeshifting the Digital’ at the School of Arts and Humanities.

– Lecture (2025), ‘THE VALIDATION JUNKY’,&#38;nbsp;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.
– Lecture (2025), ‘THE VALIDATION JUNKY: Who’s shaping your identity, and how much of it is actually yours,’ Winchester School of Art, the University of Southampton, UK, 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), ‘THE VALIDATION JUNKY’, Royal College of Art, London, UK, Dr Gareth Polmeer’s cross-RCA Synthetic Encounters Elective: ‘Shapeshifting the Digital’ at the School of Arts and Humanities.– Lecture (2023), ‘THE VALIDATION JUNKY’, Prosjektskolen Kunstskole, Oslo, Norway, for Kjersti Vetterstad and Michael Hare’s ‘No maps for these territories’ elective.– Lecture (2023), ‘THE VALIDATION JUNKY’, RAM Gallery, Oslo, Norway.– Luminary Lecture (2020), ‘THE VALIDATION JUNKY’,&#38;nbsp; Liverpool John Moores University, Liverpool, UK, delivered remotely due to COVID-19, invited by Andrew Ibi, Programme Leader, BA Fashion: Design &#38;amp; Communication.– Lecture (2020), ‘GENETICS GYM',&#38;nbsp;Beaconhouse National University, Lahore, Pakistan.– Lecture (2019), ‘THE VALIDATION JUNKY’, ArtCentre College of Design, Los Angeles, USA, invited by Benjamin Hooker,&#38;nbsp;Adjunct Associate Professor, Graduate Media Design at ArtCentre.&#38;nbsp;– Lecture (2019), ‘THE VALIDATION JUNKY’, Southern California Institute of Architecture (SCI-Arc), Los Angeles, USA,&#38;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.&#38;nbsp;– Lecture (2019), ‘GENETICS GYM’, Science Gallery Dublin, Trinity College Dublin, Ireland.– Lecture (2019), ‘GENETICS GYM’, Cocoon Global, London, UK.– Opening Keynote (2018), ‘GENETICS GYM’, Product Innovation Apparel, Milan, Italy.– Lecture (2018), ‘GENETICS GYM’, Melbourne School of Design, University of Melbourne, Australia, as part of the awarded 2018 Robert Garland Treseder Fellowship.– Lecture (2018), ‘GENETICS GYM’, Melbourne School of Design, University of Melbourne, Australia, with Prof. Alan Pert, Deputy Dean of the MSD, as part of the awarded 2018 Robert Garland Treseder Fellowship.– Lecture (2018), ‘THE VALIDATION JUNKY’,&#38;nbsp;Fashion Clash Festival, Maastricht, Netherlands.– Lecture (2017), ‘GENETICS GYM’,&#38;nbsp;Fashion Space Gallery, London College of Fashion, UK.– Lecture (2016), ‘GENETICS GYM’,&#38;nbsp;London College of Fashion, UK,&#38;nbsp; for MA Psychology for Fashion Professionals and MSc Applied Psychology in Fashion.– Lecture (2016), ‘GENETICS GYM’,&#38;nbsp;UCL / UCH Centre for Human Reproduction, London, UK, for the MSc Prenatal Genetics and Foetal Medicine program.– Lecture (2016), ‘THE VALIDATION JUNKY’,&#38;nbsp;Berghs School of Communication, Stockholm, Sweden.&#38;nbsp; – Artist Presentation (2016), ‘MACHINES TO AUTOMATE TASTE’,&#38;nbsp;Visible Futures Lab, School of Visual Arts, New York City, USA.&#38;nbsp;– Lecture (2016), ‘THE VALIDATION JUNKY’,&#38;nbsp;Artist-in-Residence presentation, Visible Futures Lab, School of Visual Arts, New York City, USA.– Lecture (2015), ‘THE VALIDATION JUNKY’,&#38;nbsp;Royal College of Art, London, UK, ‘Talk draw, debate’, 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.&#38;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.
– Lecture (2014), ‘THE VALIDATION JUNKY’, MA Fashion Futures,&#38;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 &#38;amp; Residencies


– UKRI ESRC SENSS DTP award (2024- ongoing), UK Research and Innovation,&#38;nbsp;Economic and Social Research Council, South and East Network for Social Sciences. – Researcher in Residence (2027-upcoming), PRAKSIS, Oslo, Norway, supported by Goldsmiths, ERSC, SENSS &#38;amp; Arts Council Norway.&#38;nbsp;– Lumen Prize Still Image Award Finalist (2024), with the VALIDERINGSSØPPELET project, Lumen Studios, London, UK. – Artist in Residence (2022-23), Convention House Art &#38;amp; Technology Residency, East Street Arts, Leeds, UK. – Lead Resident, PERFECTION / SPECULATION (2020-21),&#38;nbsp;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.&#38;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 &#38;amp; FIAT Centro Stile Torino, UK &#38;amp; Italy. 
– Bursary Award, Design Interactions (2012-14), Royal College of Art, London, UK.&#38;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 &#38;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 &#38;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.– Collaborative Unit Mentor (2016), Digital Anthropology Lab, London College of Fashion, University of the Arts London, UK.
– Design Critic (2016), Foundation Architecture, Architectural Association, London, UK.– Design Critic (2015), BFA Interior Architecture, Pratt Institute, New York City, USA.– Guest Tutor (2014), Royal College of Art, London, UK, Tutorial and workshop for MA Fashion Womenswear Year 2, invited by Zowie Broach, Head of Programme: MA Fashion at the RCA. 
– Design Critic (2014), MA Fashion Womenswear, Royal College of Art, London, UK.– Guest Tutor (2014), MA Fashion Futures, London College of Fashion, UK, invited by Prof. Susan Postlethwaite, Course Leader, MA Fashion Futures. 


Selected Panel Discussions


– More-than-Human Aesthetics: Social Science and Design Futures. Beyond the Bifurcation of Nature (2026), SENSS Scholar Series: Social Science Futures - Methodological and Conceptual Directions, Goldsmiths, University of London, UK. Co-chaired a panel conversation with Sarah Kilkenny and Prof Alex Wilkie, hosted by the Department of Design at Goldsmiths, University of London, as part of the SENSS (South and East Network for Social Sciences) Scholar Series.
– The Future of Identity (2023), RAM Gallery, Oslo, Norway, Panel discussion with Tominga O’Donnell, Tine Semb and Nicholas John Jones.– PERFECTION / SPECULATION (2021), The Vigeland Museum, Oslo, Norway, Panel discussion withBobby Shuk Pui Yu; Geir Haraldseth, Nicholas John Jones, Tine Semb.–&#38;nbsp;In Pursuit of Perfection (2019), Trinity College Dublin, Ireland, panel discussion with Prof. Gordon Wallace and Louise Allen.– Creative Futures 5 - Fashion and Technology (2019), Engage Works Innovation Lab, East London.– The Fashion Dialogue: A Clash of Values (2018),&#38;nbsp;Fashion Clash Festival, Maastricht, Netherlands - discussion with Prof. José Teunissen, Dai Rees.– Creativity, Intuition, Process (2017) The Crypt Gallery, London, UK - discussion with Prof. Arthur I. Miller, Dr Max Reuter 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.– Fashion Values (2016) Royal College of Art, London, UK –MA Fashion Menswear, MA Fashion Womenswear, MA FAME, with Andrew Ibi.


Selected Catalogues
– Who’s afraid of the Future? (2019), Science Gallery Dublin, Ireland.– PERFECTION: PART EXPERIMENT / PART EXHIBITION (2018), Science Gallery Melbourne, Australia.– Genetics &#38;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 &#38;amp; Articles&#38;nbsp;
– Peacock, A. (2023) PERFECTION / SPECULATION. PRAKSIS Oslo, Norway. Available at:&#38;nbsp;https://www.praksisoslo.org/shop/perfection-speculation-explorer

– Peacock, A. and Vita-More, N. (2021) Beauty, Transhumanism &#38;amp; The Disease of Ageing. PRAKSIS Presents. Oslo: PRAKSIS. Available at: https://www.praksisoslo.org/natasha-vita-more
– Peacock, A. and Jarzombek, M. (2021) The Post-Ontology, Blobby Architecture &#38;amp; Homogenised Identities. PRAKSIS Presents. Oslo: PRAKSIS. Available at: https://www.praksisoslo.org/mark-jarzombek
 – Peacock, A. and Manovich, L. (2021) New Media, Instagram &#38;amp; Homogenisation. PRAKSIS Presents. Oslo: PRAKSIS. Available at: https://www.praksisoslo.org/lev-manovich– Peacock, A. and McRae, L. (2021) Body Architecture, Genetic Editing &#38;amp; Self-Transcendence. PRAKSIS Presents. Oslo: PRAKSIS. Available at: https://www.praksisoslo.org/lucy-mcrae
– Peacock, A. (2020) ‘Genetics Gym’, in Crafting Anatomies: Archives, Dialogues, Fabrications. London: Bloomsbury Academic, pp. 155–166.– Peacock, A. (2018) ‘Brain-Body-Society’, HIGGS: The Science Fashion Magazine, Issue 04. Madrid: Graficas Andalusi S.L.

– Peacock, A. (2017) ‘A Short Guide to Male Portraiture in 2017’, The Fine Print Magazine, Post-Truth World Issue, Issue 3. Chertsey: Logical Connections Ltd.


Selected Direction, Research, Development and Production of Public Programmes

– Body Image Under Fascism (2026), The Love Tank CIC, London, UK, with Dr Benjamin Weil, Asad Zafar and Lola Alaska.&#38;nbsp;– Contemporary&#38;nbsp;Art in the Age of AI (2025),&#38;nbsp;Artlogic Connect ’25, London, UK,&#38;nbsp;with Alison Gass, Natasha Vita-More and Gretchen Andrew.– PERFECTION / SPECULATION at the Vigeland Museum (2020-23), The Vigeland Museum, Oslo, Norway.&#38;nbsp;– PERFECTION / SPECULATION in conversation (2020-21), PRAKSIS, Oslo, Norway, with Prof. Lev Manovich, Lucy McRae, Prof. Mark Jarzombek, and Dr Natasha Vita-More.– Designing Sex Symposium (2016), Fashion Space Gallery, London College of Fashion, UK, with Duncan Stephenson, Prof. Joyce Harper, Dr Helen C. O’Neill, Dr Agi Haines, Dr Barry M. Jones, and Henrique Mathias, commissioned by The Fashion Space Gallery and Digital Anthropology Lab.Selected Studio Teaching (courses created and taught)

– Fashion, Digital Identity and the Post-Internet (2023-24), School of International Art, China.&#38;nbsp;– Future of Fashion Masterclass (2020-22), School of International Art, China.– Speculative Prototyping (2016-20), MA Fashion Futures, London College of Fashion, UK.– Speculative Architectures – The DNA of Perfection (2018-19), M.Arch Architecture, Melbourne School of Design, Australia.


Selected Educational Workshops (created and taught) 

– New Territories / New Identities&#38;nbsp; [in development] (2027 / upcoming), Royal College of Art, MA Fashion.
– Past / Present / Future - Digital Identity and the Post-Internet (2023), PRAKSIS Oslo.
– Queer &#38;amp; Northern Workshop (2022), East Street Arts, Leeds, UK.
– Genetics Gym Workshop (2017), Fertility Fest 2018, London, UK.– Speculative Body Design Workshop (2016), Fashion Space Gallery, London College of Fashion, UK, with 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.– Speculative Body Design Workshop (2015), Royal College of Art, London, UK.– Informed Consumer Integrity Workshop (2015), London College of Fashion, UAL, UK.Selected Press, Interviews &#38;amp; Media


– Online Dating in ‘Salvage Mode’: Can AI Solve All Its Problems? (2026), The Guardian.– In Conversation: Adam Peacock &#38;amp; Alessandra Coretti (2023), CLOT Magazine. – If You Could Live Forever (2023), Kunstavisen, Oslo, Norway. – Virtual Wine Tasting and Adam’s Queer London (2020), Melk Magazine, Oslo, Norway.– I Let an Algorithm in a Mirror Show Me a ‘Perfect’ Version of My Face (2019), Image.ie. – What Does Perfection Look Like and Why Does It Make Us Miserable? (2019), The Irish Times. – In Pursuit of PERFECTION (2019), Science Gallery Dublin, Ireland. – The Health Race (2019), Matters, Issue 3. – 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.– Could You Edit Your DNA to Look Hotter? (2018), BBC iPlayer, UK.– Art and Science Come Together to Examine the Power and Perversions of Perfection (2018), The Conversation. – Should We Strive for PERFECTION? (2018), Art Guide Australia. – London-Based Designer Awarded Robert Garland Treseder Fellowship for 2018 (2018), Melbourne School of Design. – Perfect Humans: Good or Bad? (2018), The Age, Melbourne, Australia. – 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.– ADAM PEACOCK: Tackling Consumer Psychology Through Genetic Design (2017), CLOT Magazine.– Queer Bodies and Venues in New York (2016), Art Unlimited, Galerist Sanat Galerisi, Istanbul, Turkey.– The Art Events to Visit This Week from Art Map London (2014), FAD Magazine. – Artists Explore What the Future Might Hold (2014), Londonist. – FIAT / RCA ‘Two of a Kind’ Project Winners (2013), FormTrends.– Winners of Royal College of Art / FIAT ‘Two of a Kind’ Design Challenge Announced (2013), Stellantis.


Selected Professional &#38;amp; Applied Research Experience


– Accenture, Dublin, Ireland – Design and innovation strategy focused on emerging technologies and future economies.
– Amanda Levete Architects (AL_A), London, UK – Design development of the V&#38;amp;A Exhibition Road Quarter, London, UK.
– Audi North America, New York, USA – Brand research and strategic design consultancy exploring digital platforms, consumer culture and vehicle design.&#38;nbsp;
– Converse, New York, USA – Brand research and strategic consultancy exploring digital platforms and consumer culture.
– Diageo, London, UK – Innovation strategy and research into consumer culture and emerging market opportunities.
– FIAT Centro Stile, Turin, Italy – Design research and innovation strategy informing future FIAT vehicle concepts.
– Heatherwick Studio, London, UK – Design development of Azabudai Hills, Tokyo, Japan.
– Lyst, London, UK – Brand research and strategic consultancy looking into fashion technology, digital platforms and consumer behaviour.
– NEOM, Saudi Arabia – Design leadership for concept design packages across a proposed megacity and mountain resort.
– P&#38;amp;G Futures &#38;amp; Foresight, New York, USA – Strategic foresight mapping emerging consumer trends and cultural shifts.
– Stella McCartney, London, UK – Brand research and strategic consultancy exploring brand positioning, consumer culture and emerging youth cultures.
– WilkinsonEyre, London, UK – Design development of CIBC Square, Toronto, Canada.

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		<title>Contact</title>
				
		<link>https://adampeacock.co.uk/Contact</link>

		<pubDate>Tue, 03 May 2022 17:14:20 +0000</pubDate>

		<dc:creator>ADAM PEACOCK</dc:creator>

		<guid isPermaLink="true">https://adampeacock.co.uk/Contact</guid>

		<description>


Project enquiries,&#38;nbsp;info[at]adampeacock.co.uk
Sales &#38;amp; limited editions enquiries,&#38;nbsp;editions[at]adampeacock.co.uk

Instagram,&#38;nbsp;adam__peacock
	

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		<title>RESISTING OPTIMISATION (2026)</title>
				
		<link>https://adampeacock.co.uk/RESISTING-OPTIMISATION-2026</link>

		<pubDate>Mon, 29 Sep 2025 11:59:36 +0000</pubDate>

		<dc:creator>ADAM PEACOCK</dc:creator>

		<guid isPermaLink="true">https://adampeacock.co.uk/RESISTING-OPTIMISATION-2026</guid>

		<description>


RESISTING OPTIMISATION

	
	OSLO, 2026
	

RESISTING OPTIMISATION is a series of sculptural drawings exploring how AI-integrated platforms shape subjectivity in digital cultures. The project combines artistic research with critical design, looking at how AI-integrated platforms sort, filter, and rank individuals. These systems impact contemporary cultures and disproportionately affect marginalised groups, 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 jacket, creating body-derived geometry that is then manually fine-tuned  with parametric nodes and constrained within a volume. The drawings are made through a combination of an X-Y drawing machine and a (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 complexity. 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


	&#60;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" /&#62;
	

&#60;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" /&#62;


	&#60;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" /&#62;
Resisting Optimisation 00–3 Machine and hand-drawn oil paint on Stainless Steel, 16 Tiles 124 x 174cm, Oslo 2026Installation Photo, Jon Gorospe/SKOG


&#60;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" /&#62;


	&#60;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" /&#62;
Resisting Optimisation 02–1 Machine and hand-drawn oil paint on Stainless Steel14.8 x 21 cm, Oslo 2026Installation Photo, Jon Gorospe/SKOG


	&#60;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" /&#62;


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


	&#60;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" /&#62;
	

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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


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	&#60;img width="1784" height="2379" width_o="1784" height_o="2379" data-src="https://freight.cargo.site/t/original/i/5e4040ba2fb5fde223f581a0ea3cc11eb4bed8baa7cbab865b3e6718177a5edd/RESISTING-OPTIMISATION-00-10_2026_APREFLECT.jpg" data-mid="248899581" border="0"  src="https://freight.cargo.site/w/1000/i/5e4040ba2fb5fde223f581a0ea3cc11eb4bed8baa7cbab865b3e6718177a5edd/RESISTING-OPTIMISATION-00-10_2026_APREFLECT.jpg" /&#62;Resisting Optimisation 00–10Machine and hand-drawn oil paint on Stainless Steel, 16 Tiles88 x 64 cm, Oslo 2026Installation Photo, Jon Gorospe/SKOG
&#60;img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/bb27090603c3f35e2af1477db72be8c01101fec4b3d6898317523b20e491c7d3/RESISTINGOPTIMISATION.jpg" data-mid="238813919" border="0"  src="https://freight.cargo.site/w/1000/i/bb27090603c3f35e2af1477db72be8c01101fec4b3d6898317523b20e491c7d3/RESISTINGOPTIMISATION.jpg" /&#62;

	
RESISTING OPTIMISATION
WORKFLOW EXPERIMENTS
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	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
Component of series of designed PhD experiments, Tools for navigating AI-integrated subjectivity.
Further research resources can be found&#38;nbsp;here&#38;nbsp;

Artist, researcher and project lead,&#38;nbsp;Adam PeacockCuratorial collaboration,&#38;nbsp;Brian Noguera, Kim Gabrielli, Ida Kathrine HansenExhibition partner,&#38;nbsp;SKOG Art Space Oslo
Project research supervision,&#38;nbsp;Dr Emily Rosamond and Dr Scott Wark, Visual Cultures, Goldsmiths, University of LondonSupport received from,&#38;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],&#38;nbsp;Exhibited at SKOG Art Space, Oslo2026, [RESISTING OPTIMISATION 00-11], Exhibited at BLEUR Gallery, London


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</description>
		
	</item>
		
		
	<item>
		<title>THE VALIDATION JUNKY BOOK (2025-)</title>
				
		<link>https://adampeacock.co.uk/THE-VALIDATION-JUNKY-BOOK-2025</link>

		<pubDate>Fri, 23 May 2025 17:22:11 +0000</pubDate>

		<dc:creator>ADAM PEACOCK</dc:creator>

		<guid isPermaLink="true">https://adampeacock.co.uk/THE-VALIDATION-JUNKY-BOOK-2025</guid>

		<description>


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
	

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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)

	
&#60;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" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>THE VALIDATION JUNKY (2022-23)</title>
				
		<link>https://adampeacock.co.uk/THE-VALIDATION-JUNKY-2022-23</link>

		<pubDate>Tue, 03 Oct 2023 12:53:00 +0000</pubDate>

		<dc:creator>ADAM PEACOCK</dc:creator>

		<guid isPermaLink="true">https://adampeacock.co.uk/THE-VALIDATION-JUNKY-2022-23</guid>

		<description>


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.&#38;nbsp;
&#38;nbsp;
Keywords -  Artificial Intelligence, Bio-Technology, New Media, Post-Ontology, Transhumanism 
	

&#60;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" /&#62;
	

	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.


&#60;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" /&#62;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


&#60;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" /&#62;

	
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	&#60;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" /&#62;


	&#60;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" /&#62;
	

	&#60;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" /&#62;


	&#60;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" /&#62;
	

	&#60;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" /&#62;


	&#60;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" /&#62;


	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
&#60;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" /&#62;


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	&#60;img width="2758" height="3678" width_o="2758" height_o="3678" data-src="https://freight.cargo.site/t/original/i/f78e24068da28afa5b99f3a0151ec04f4a3ec14fc94e927f53801a07abb1f84c/IMG_6051.jpeg" data-mid="252948518" border="0"  src="https://freight.cargo.site/w/1000/i/f78e24068da28afa5b99f3a0151ec04f4a3ec14fc94e927f53801a07abb1f84c/IMG_6051.jpeg" /&#62;


	&#60;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" /&#62;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


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	“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
	

&#60;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" /&#62;
PERFECTION / SPECULATION IDENTITY MAP [Future Body Prototype Sketches]Double Sided A1 Map Folding into 297 (h) x 105 (w) Oslo, 2023Photo Credit - Peacock/PRAKSIS


	&#60;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" /&#62;
	

	&#60;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" /&#62;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


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	&#60;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" /&#62;


	&#60;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" /&#62;

	
	&#60;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" /&#62;

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


&#60;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" /&#62;
&#60;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" /&#62;
&#60;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" /&#62;
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&#60;img width="2268" height="4032" width_o="2268" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0d5aa9696e351e9cb6f024bbd75165aac2aeed83b04639b9f400a6340dfaf2f7/PRAKSIS-RAM-2.jpeg" data-mid="239026071" border="0"  src="https://freight.cargo.site/w/1000/i/0d5aa9696e351e9cb6f024bbd75165aac2aeed83b04639b9f400a6340dfaf2f7/PRAKSIS-RAM-2.jpeg" /&#62;
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THE VALIDATION JUNKY 2023

PRAKSIS X RAMDedicated to my love, Daniel Remkall Slotvik, 1989-2023 


VALIDERINGSSØPPELET
Drawing,&#38;nbsp;Adam Peacock 
Production,&#38;nbsp;PRAKSIS

PERFECTION / SPECULATION at The Vigeland Museum
Creative Direction &#38;amp; Concept,&#38;nbsp;Adam Peacock

Production, PRAKSIS
Research Agenda Lead,&#38;nbsp;Adam Peacock 
Research Agenda Questions,&#38;nbsp;Marte Aas, Jonathan Armour, Louis Alderson-Bythell, Trinley Dorje, &#38;nbsp;Adam Peacock, Erika Stöckel, Bobby Yu Shuk Pui

Interviewees:&#38;nbsp;Lucy McRae, Lev Manovich, Mark Jarzombek, Natasha Vita-More
Interviewer,&#38;nbsp;Adam PeacockVideography,&#38;nbsp; Katharina Gellein Viken, Charles KrielEdit,&#38;nbsp;Adam Peacock&#38;nbsp;
Location,&#38;nbsp;The Vigeland Museum
Production Assistant,&#38;nbsp;Bobby Yu Shuk Pui
PERFECTION / SPECULATION IDENTITY MAP
Document Design &#38;amp; Concept,&#38;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, &#38;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,&#38;nbsp;Nilz &#38;amp; Otto Grafisk Oslo

WE ARE WHAT THE INTERNET MAKES US I, II, IV
Creative Direction &#38;amp; Concept,&#38;nbsp;Adam Peacock
Photography,&#38;nbsp;Lighting, Styling, Post-Production,&#38;nbsp;Adam PeacockMakeup and Prosthetics,&#38;nbsp;Tamara Dickson-JonesProduction Assistants,&#38;nbsp;Celia Tang, Dian-Jen Lin, Isabela Branca Gygax, Lara GillModel,&#38;nbsp; I, Wing Yue LeungModel,&#38;nbsp; II, Hermione Fallon CallowModel,&#38;nbsp; IV, Thomas Wade Nichols
SELECTED PROJECT ENGAGEMENT2023, [We Are What The Internet Makes Us, Character I],&#38;nbsp;Exhibited at Royal Scottish Academy, Edinburgh, Scotland
2023, [Full exhibition] ,&#38;nbsp;Exhibited in a Solo show at RAM Gallery, Oslo, Norway2023, [Full exhibition],&#38;nbsp;Feature by Kunstavisen (The Art Newspaper), Oslo, Norway2023, [Full exhibition],&#38;nbsp;Feature by CLOT Magazine, London, UK
2024, [VALIDERINGSØPPELET]&#38;nbsp;Lumen Prize Finalist, Still Image Category, Lumen Studios London2024, [VALIDERINGSØPPELET]&#38;nbsp;Lumen Prize Finalist, Carla Rapoport Award, Lumen Studios London


Supported by&#38;nbsp;PRAKSIS, RAM Galleri, Kulturrådet (Arts and Culture Norway), Oslo Kommune (The City of Oslo)

With thanks to &#38;nbsp;Nicholas John Jones, Kristian Schrøder

Ashley Austin, Carlos Pez, Chris Lynch, John Duff, Matthias Reichert, William Ainsley, Wei Hen Yui

	
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</description>
		
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	<item>
		<title>PERFECTION / SPECULATION (2019-21)</title>
				
		<link>https://adampeacock.co.uk/PERFECTION-SPECULATION-2019-21</link>

		<pubDate>Tue, 03 May 2022 17:14:21 +0000</pubDate>

		<dc:creator>ADAM PEACOCK</dc:creator>

		<guid isPermaLink="true">https://adampeacock.co.uk/PERFECTION-SPECULATION-2019-21</guid>

		<description>
	
	
PERFECTION / SPECULATION
	
	
	&#38;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&#38;nbsp;
	

	&#60;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" /&#62;Still from PERFECTION / SPECULATION In Conversation With Natasha Vite-More; Beauty, Transhumanism &#38;amp; The Disease of Ageing’,&#38;nbsp; Videography, Katharina Gellein Viken &#38;amp; Charles Kriel, 2023


&#60;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" /&#62;
&#60;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" /&#62;
&#60;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" /&#62;
&#60;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" /&#62;
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Selections from,‘PERFECTION / SPECULATION Clash’,Made by P/S Film Clash Group,Moving Image, 14 mins, 2023


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	&#60;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" /&#62;
	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

	
	&#60;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" /&#62;


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&#60;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" /&#62;


	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

	
&#60;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" /&#62;
	
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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 &#38;amp; Clash Video Project, Marte Aas, Jonathan Armour, Louis Alderson-Bythell, Trinley Dorje, &#38;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&#38;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,&#38;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 &#38;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 

	
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	<item>
		<title>GENETICS GYM (2016-20)</title>
				
		<link>https://adampeacock.co.uk/GENETICS-GYM-2016-20</link>

		<pubDate>Tue, 03 May 2022 17:14:22 +0000</pubDate>

		<dc:creator>ADAM PEACOCK</dc:creator>

		<guid isPermaLink="true">https://adampeacock.co.uk/GENETICS-GYM-2016-20</guid>

		<description>


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&#38;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&#38;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&#38;nbsp;hundreds of millions annually&#38;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,&#38;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


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	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.


	&#60;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" /&#62;

	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.
 
	
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	GENETICS GYM –BODY SCANNING WITH FACIAL TRACKING: CHARACTER FIVETo develop the aesthetic, each character was tested using scanning technologies.


	&#60;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" /&#62;

	
	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.


	&#60;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" /&#62;


	&#60;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" /&#62;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.


	&#60;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" /&#62;
	

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	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’


	&#60;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" /&#62;
	

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.


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	GENETICS GYM – BRAND 3 – BEAUTIFUL BUT VAPID ‘NO SUBSTANCE VISIONAIRE’&#38;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.


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	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. 


	&#60;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" /&#62;

	
&#60;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" /&#62;
	

	&#60;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" /&#62;
	
	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&#38;nbsp;a dark reminder that such choices, while aestheticised, carry profound ethical, biological, and psychological implications.
	

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	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.
	

	&#60;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" /&#62;


	GENETICS GYM – THEORETICAL CONTEXT 
Research Document Installation&#38;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.


&#60;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" /&#62;


	&#60;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" /&#62;
	

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GENETICS GYM – BRAIN-BODY-SOCIETY CHARACTER FIVEFor Character Five, the Brain–Body–Society&#38;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.&#38;nbsp;

&#60;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" /&#62;
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	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.


	&#60;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" /&#62;

	
	GENETICS GYM 
THE CONVERSATION
	

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	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.&#38;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 -&#38;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)&#38;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 -&#38;nbsp;Dr. Helen C. O’Neill, Ashley Campbell, Liane Stein, Rachel Ho&#38;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 &#38;amp; Lynne Murray (Director, Digital Anthropology Lab, Univeristy of the Arts London) Research Symposium, on Social Policy &#38;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 &#38;amp; Speculative Bodies -&#38;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&#38;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,&#38;nbsp;Dimitrios Coumados,&#38;nbsp;James Montgomery,&#38;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 -&#38;nbsp;Adam Peacock
DisseminationExhibition Design - Adam PeacockTechnical Install - Fergus O’Connor, Manoj Mistry, Steven LeggetExhibition &#38;amp; Behind-The-Scenes Photography &#38;amp; Videography - Adam Peacock, Dian-Jen Lin, Isabela Branca Gygax, James Sanders, John Duff Exhibition &#38;amp; Behind-The-Scenes Photography &#38;amp; Videography Edit - Adam Peacock,&#38;nbsp;Isabela Branca GygaxSelected Project Engagement2022, Exhibited at&#38;nbsp;JUMPSTART Science Gallery Monterrey, Mexico

2021, Awarded nomination&#38;nbsp;S+T+ARTS Prize, Ars Electronica Linz, Austria 

2020-21, Forms the ideological and research frameworks for residency&#38;nbsp;PERFECTION / SPECULATION, PRAKSIS Oslo, Norway

2020, Published as a chapter within&#38;nbsp;Crafting Anatomies by Bloomsbury Academic2019, Featured in&#38;nbsp;Image.ie, Ireland2019,  Featured in  The Irish Times 

2019, Profiled in In Pursuit of PERFECTION, Science Gallery Dublin

 2019, Exhibited at&#38;nbsp;Science Gallery Dublin, Ireland, for PERFECTION
2018, Reviewed in&#38;nbsp;The Conversation, Australia
2018, Featured in&#38;nbsp;Art Guide Australia
2018, Featured in&#38;nbsp;The Age, Australia

 2018, Exhibited at&#38;nbsp;Science Gallery Melbourne, Australia, for PERFECTION
2018, Awarded the&#38;nbsp;2018 Robert Garland Treseder Fellowship at Melbourne School of Design, University of Melbourne, Australia
2018, Opening keynote speech&#38;nbsp;at Product Innovation Apparel Milan, Italy
2018, Featured by&#38;nbsp;BBC iPlayer in ‘DNA+Beauty’2017, Interviewed by&#38;nbsp;CLOT Magazine 
 2017, Exhibited at&#38;nbsp;Fashion Space Gallery, London College of Fashion
2016, Genetics Gym Research agenda forms the symposium ‘Designing Sex’ at&#38;nbsp;Fashion Space Gallery, London College of FashionProject Support&#38;nbsp;Fashion Space Gallery UAL, Digital Anthropology Lab UAL,&#38;nbsp; Institute for Women’s Health&#38;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


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