Electronic Lover
The August 2025 release announcement supplies the vocabulary directly: synthetic love, surveillance, paranoia, image-obsession, dehumanization, depersonalization, consumerist ennui and plastic sensuality. The four-track work turns those abstractions into two complementary figures: a human life hollowed out through screens in “Train Me,” and a manufactured first-person being in “Abiogenesis.”
Presence without presence
In the “TURN OFF” narrative, work, friendship, reminders and romantic rupture arrive as pings, video calls and pixelated faces. The complaint that the protagonist is “never present” occurs through the very channel accused of producing absence. The story's later attack on the communications network is therefore both political fantasy and impossible romantic corrective.
Manufactured personhood
“Abiogenesis” reverses the direction of the problem. Instead of a human becoming synthetic through mediation, a synthetic or engineered being speaks from the beginning: laboratory-born, produced for pleasure, demanding a reason for being. The title's scientific term becomes an ontological joke with consequences — what obligations follow once a designed object can say “I”?
Image and doubling
The cover's doubled bodies, grid, scanlines and CRT-like screen make personhood visibly unstable. The figures are not simply photographed; they appear as transmissions and copies. This puts the project beside Aniconism and Distributed Rendering, where the relation between person, image and usable representation remains contested.
Interpretive boundary
“Synthetic intimacy” is a connective term used by this encyclopedia, not a claim that every work about love or technology belongs to one planned doctrine. Exact migrations are separately documented in the cross-medium chronology.