What makes a thing a science fiction thing? If you’re reading these words, then you have at least an intermittent ability to access a great deal of the knowledge homo sapiens sapiens has managed to accumulate. You can learn to read Old Egyptian so you can translate photos of the Pyramid Texts, or cruise around the edge of the Amazon on Google Maps, go on a virtual tour of Rotterdam. That’s pretty sci-fi, but it’s not actually factually sci-fi. It’s Tuesday afternoon at a café in Ann Arbor, Michigan, bending over your phone.
What is science fiction? It’s not your phone. But it is, certainly, the headgear made by Ikeuchi Hiroto, which looks like a still from an edgy animé, or a panel from a Geof Darrow comic. Here’s more from METAL:
Inspired by anime robots, the cyberpunk era, and the craft behind technological engineering, he gleams as he recalls a childhood memory. “I always compared the inside of computers,” he says, excited, “to some sort of secret base, wondering what the purpose was for all the components and fixings.” He makes sure every piece of an integrated circuit can be salvaged in the name of science and art.
From broken motherboards, plastic to electrical wiring intricately moulded together to establish a cyberpunk apocalyptic aesthetic, he amplifies and investigates the connection and relationship between humans and technology. He delves into the world of transhumanism as a spiritual transcendence and the future of humanity in augmented bodies. Not only are his dioramas kicking the cyberpunk genre into even high gear, but they are also made to function. His models raise important questions, albeit fascinating to examine; they also operate and serve as a practical contraption for everyday use.
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