Duncan Rawlinson uses contemporary photography combined with artificial intelligence imaging techniques to explore latent spaces in “Ephemeral Blossom.” This artwork captures the delicate and fleeting beauty of cherry blossoms adorned with dew, creating a serene and peaceful moment that reflects the transient nature of such moments.
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“Gates to the Singularity” stands as a testament to Duncan Rawlinson’s masterful fusion of AI and photography, a visual narrative set within the endless potential of the digital domain. Each image is a gateway, not just a visual entry point but an emblematic leap towards the pivotal moments in technology’s unfolding saga. Here, the imminent arrival of AGI, the transformative waves of Bitcoin, the relentless drive of GPU capabilities, and the fast-forward momentum of tech’s evolution are captured and reflected. With Rawlinson’s lens, these themes are more than abstract concepts; they are visceral, intertwining with the natural grandeur to evoke a contemplation on the intricate dance of progress and artistry.
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In a cozy corner of a winter-clad village, where chimneys always puffed like old men smoking pipes and the snow lay thick as a down comforter, there lived two little snowmen, no taller than a toddler’s laugh. They were born from the mirthful hands of children, with pebble-smiles wide and carrot-noses brave, standing sentry in a garden dusted with nature’s icing sugar.
On a special Christmas morning, as the world awoke to a blanket of silence only snow can weave, the little snowmen stood with their scarlet scarves snug, exchanging glances that sparkled like the star atop the village Christmas tree.
“Look at the lights, so merry and bright,” said the first little snowman, his button eyes gleaming with each flicker of the distant lanterns.
“And feel the warmth,” replied the second, “even as the frost nips at our snowy cheeks.”
Though made of snow, they held a warmth known only to the heart, a glow no winter’s chill could diminish. They watched families gather, their laughter spilling out of windows, frosting the panes with joy. They saw the old widow next door smile, her eyes alight with memories as sweet as the Christmas pudding she shared with a knock on her door.
The little snowmen knew the magic of Christmas wasn’t just in the opening of presents, but in the opening of hearts. They stood, tiny in size but boundless in the love they witnessed, a love that knit the village together like the scarves around their necks.
As evening fell and the sky blushed with sunset, the snow began to fall again, each flake a whisper of the night’s peace. Inside the homes, families gathered by the fire, sipping hot chocolate that warmed them to their toes, and outside, the little snowmen smiled, their spirits as warm as the hearths behind the walls.
And in that moment, the little snowmen weren’t just figures of snow, but beacons of the season’s spirit, reminding all who glanced their way that warmth comes not from the fire in the hearth, but from the love in our hearts.
As the night drew its curtain, the snowflakes danced like sugar fairies, the world was a snow globe, and the little snowmen, with their hearts full of Christmas, sent out wishes of joy, peace, and love to all, a silent carol for a holy night.
And so, with a wink from the moon, they stood, these little guardians of Christmas, cradling the village in a hug as tender as a mother’s whisper, “Merry Christmas, dear ones, from these little dudes.”
From the Littlest Snowmen: A Very Merry Christmas
“Pillars of Praxis” by Duncan Rawlinson is a photographic journey that weaves through the concept of a utopian society with artistry and wit. In the face of critical articles from outlets like the NYT and the Daily Mail, which aimed to cast shadows on Dryden Brown’s ambitious Praxis project, this series instead shines a light on the foundational characters with a sense of admiration and irony. The attempt by the press to diminish Praxis only amplified intrigue (Streisand Effect) and turned scrutiny into fascination. Through Rawlinson’s lens, each pillar—merchant, priest, warrior—is depicted with an underlying narrative of resilience against skepticism, inviting onlookers to discover a cryptostate that stands defiant in the wake of attempted disparagement, emerging not weakened, but emboldened and antifragile in the public eye.
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The “Suspended Realities” series by Duncan Rawlinson showcases a fusion of photography with artificial intelligence imaging techniques. In this collection, Rawlinson employs AI as a tool to extend the capabilities of photographic expression, capturing scenes that juxtapose the familiar with the digitally altered. The series offers a glimpse into the experimentation of visual arts through technology, highlighting the intersection between the crafted and the spontaneous within the digital landscape.
Duncan.co/suspended-realities
The collection is a testament to Duncan Rawlinson’s innovative journey through the fusion of traditional photography and the frontiers of AI imaging. Each image is a standalone narrative that captures the essence of desert vastness, complemented by man-made monoliths that evoke a sense of both history and futurism. The serene solitude of the landscapes juxtaposed with the striking structures creates a visual dialogue between the natural world and human imagination. This series not only reflects Duncan’s exploration into the latent possibilities of digital artistry but also echoes his profound connection to the ethereal desert landscapes.
https://duncan.co/ethereal-constructs-amidst-desert-vistas
