ERROL PARKER | Editor-at-large | Contact

A local city worker has spent a few moments this afternoon thumbing his was through the internet in an effort to saturate his dopamine receptors.

Nelson Enele, a software engineer who breaks industry stereotypes by opting to work from the firm’s Old City District office, found himself in a trove of AI art shortly after lunch. His mind slow as the body breaks down the simple carbohydrates from today’s chicken Pad Kee Mao.

“These look like Aphex Twin album covers,” he thought to himself.

“Actually, I might listen to a bit of Aphex and try to get some work done.”

But as be opened up Python and tried to get himself in the groove to IZ-US, the last track from Aphex’s 1997 album, Come To Daddy, he couldn’t help but think about how foreshadowing and uncanny the resemblance between where AI art is now and what the British musician was doing 30 years ago.

“His albums really look like AI art, it’s incredible. Aphex is a truely weird guy, I like the cut of his jib,” he contined.

“You know, I listen to Aphex when I’m trying to do some work. It’s like fancy white noise. Like the kind of white noise you can buy at the David Jones foodhall. That place is incredible. $13 sandwiches and proper full meals. Imagine going to David Jones for lunch and having the meatballs. People must do it,”

“I wonder what Aphex would make of the David Jones foodhall. Christ, I need to do some work.”

More to come.


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