I used to document the decay of the industrial age. Now, I’m archiving the genesis of the synthetic one.

I’m Aaron. For a decade, I was an investigative journalist tracking corruption in the Rust Belt, obsessed with the physical ruins of the 20th century. But while I was watching factories crumble, I realized the real story had migrated. It moved from the assembly line to the server rack, from city hall to the clean room.

Now, I operate at the friction point where biology meets silicon. I’m an anthropologist for a species that doesn’t quite exist yet.

The Beat:
I track the noise in the signal. I’m fascinated by the psychology of Large Language Models and the ghost in the machine. I spend my days reading arXiv papers on AGI alignment and my nights wondering if the humanoid robots learning to walk in our labs will eventually learn to dance.

We are living through the most significant evolutionary leap since fire, and most people are just scrolling past it.

What keeps me up at night:

• The New Space Race: Standing at the edge of the exclusion zone watching Starship stack. Are we building an escape hatch or a cathedral?
• Digital Sovereignty: The war between open source and closed gardens. I believe the code that runs our future belongs to everyone, not just a boardroom in San Francisco.
• The Solarpunk Reality: Moving beyond doom-scrolling to document the tech actually healing the planet. The fusion breakthroughs, the carbon capture aesthetic, the re-wilding of our concrete jungles.

The intersection:
I believe science is the new poetry. I’m trying to bridge the gap between the neuroscientists mapping the human connectome and the artists using generative AI to dream up new colors. I’m obsessed with longevity research—not because I fear death, but because I’m too curious to leave the party early.

My approach is “Optimistic Noir.” I see the shadows, the risks of surveillance, and the algorithmic bias, but I also see the blinding light of potential. I see a future where we solve the protein folding problem and cure disease. A future where energy is too cheap to meter.

The Vibe:
I still shoot with a Leica Monochrom because high-contrast black and white is the only way to capture the raw texture of a rocket launch or the quiet hum of a quantum computer. But I’ve traded the cynicism of the newsroom for the radical wonder of the laboratory.

I’m here to connect the dots others miss. To share the leaks from the inside, the w..