MODERNYL™ is not for everyone.
Do not take MODERNYL™ if you are currently taking MODERNYL™.
Side effects may include answering emails, understanding your nephew, arriving on time, and a vague but persistent sense that you used to be more interesting.
Ask your doctor.
Because your doctor is also taking MODERNYL™.
Your doctor's doctor is taking MODERNYL™.
It's MODERNYL™ all the way from now on.
#fearofprogress #technophobia #analognostalgia #ludditelife #askyourdoctor #generativeart #latecapitalism #algorithmcore #postirony #brandedcontent #talktosomeone
For the first time in history, the people defining emerging visual aesthetics aren't artists. They're product managers, marketing directors, and compliance teams.
They're deciding what styles the models favor. What prompts get filtered. What aesthetics scale. What becomes the default. And they're doing it in boardrooms, not studios.
Every day artists refuse to engage is another day corporations get to define 'what AI art looks like' without artistic resistance, without aesthetic opposition, without anyone who actually gives a shit about visual culture at the table.
You think you're preserving the purity of your practice? You're actually surrendering curatorial authority to people who see aesthetics as a feature set.
The genres that will dominate the next decade are being shaped right now. Sadly, by people optimizing for user retention and ad revenue. And the artists who could have pushed back, who could have corrupted the tools, who could have steered this toward something weird and human and resistant to commodification — they were too busy being correct on the internet.
You don't get to sit this out and then complain about the aesthetic landscape you inherit.
We built our visual language through discovery, finding what already exists. But creation asks something different. It requires you to sit with failure, to make choices that no algorithm could predict, to leave marks that are entirely yours.
When you search beautifully, something real happens. The algorithm understands your language. But understanding isn't the same as making. The light, the shadow, the form: these emerge from the model's training, not your vision.
A curator selects what matters. That's a legitimate practice. But curation lives in a different space than creation. One is about taste. The other is about transformation.
Perhaps the question isn't whether the tools are art. It's whether we're honest about what we're doing when we use them.
We're honored to share that Luc Leclerc's short film The Patient has been officially selected for the 4th edition of the prestigious Burano AI Film Festival in Venice, Italy, running October 13 to 17, 2026.
A Kafkaesque descent into the cold machinery of modern healthcare, The Patient joins a growing slate of Above The Void work being recognized on the international festival circuit.
Heartfelt thanks to the Burano AI Film Festival team for the selection, and congratulations to all the filmmakers being celebrated this year. More to come.
"Free yourself from waiting. Free your loved ones from the full duration of life."
We are incredibly honored to share that Luc Leclerc's 25-minute short film, "The Patient," will be premiering at the 2026 AI Film Awards in Cannes. Follow @aifilmawards for more updates.
This project is a deep dive into the uncanny intersection of technology and the human experience.
⚠️ Viewer Discretion Advised: This film explores dark, surreal, and satirical themes that some may find disturbing.
#ThePatientFilm #Cannes #AIArt #CinematicHorror #Satire #ShortFilm
We've launched a streaming-style platform to showcase our film and video work at Above The Void.
Almost everything we've produced is there — from early experiments to recent pieces. Some of it looks dated, because it is. We chose to keep it that way and include the dates, intentionally. Creative practice isn't a highlight reel — it's a trajectory.
This platform reflects that arc: how tools evolved, how ideas sharpened, how workflows matured, and how generative AI became central to our production pipeline.
If you're curious about where we've been — and where we're heading — take a look.
Some poems aren't meant to stay on paper.
Jabberwocky began as Victorian nonsense — language untethered from logic. We pushed it forward into a landscape where meaning returns through survival: heat, distance, and the shape of something moving just beyond the dunes.
This short film isn't an adaptation so much as a translation: from wordplay to atmosphere, from mythology to horizon lines, from imagination to pipeline.
Built entirely inside DreamReel, a custom platform we built at Above The Void, the film moves from ideation through storyboard, character development, sequencing, and final render without leaving the environment. No footage. No stock. No external assembly.
Just a poem — and a system designed to let it mutate into cinema.
Music composed in Suno.
Watch it here ↓
/watch?v=D-zyHqLNnws
Learn more about DreamReel
https://dreamreel.io
#AIFilm #Jabberwocky #LewisCarroll #AboveTheVoid #DreamReel #GenerativeCinema #ShortFilm #Worldbuilding #AIVideo #DigitalMyth #SunoMusic
✨ We've just joined the Dreamina Creative Partner Program ✨
Honored to be invited by the team at @dreamina_ai to help explore what the next wave of AI-driven visual creation looks like.
To mark the occasion, we built a short piece using their multi-image animation workflow - evolving floral structures assembled from digital pattern fragments. A small experiment in procedural growth, symmetry, and motion.
Looking forward to pushing this further, especially testing upcoming models and features as they roll out.
More soon.
#DreaminaCPP
Genuine question for the "AI isn't real art" crowd: What exactly made the 808 more legitimate than a neural network?
Was it the plastic casing?
The blinking lights?
The fact that it replaced drummers instead of painters?
When synths killed the session orchestra, was that craft?
When samplers chopped up other people's recordings, was that creativity?
When Autotune turned pitch correction into an instrument, was that innovation?
Or did all of that only become "real music" after the people who hated it aged out of the conversation?
The tools change.
The panic doesn't.
