… in 1995, Burroughs joined with computer animator Roger Holden in producing a series of computer-generated stereograms created by digitally scanning a detail of one of Burroughs’ paintings into a computer, color-enhancing it, and printing it with a laser printer. When viewed with relaxed and slightly crossed eyes, the three dimensional effects of these “cybernetic cut-ups” form imaginary landscapes of extreme intricacy and depth not unlike those imagined works described by Burroughs in 1981 [in Cities of the Red Night] as made by “some lost color process… used to transfer three dimensional holograms onto the… pages. You ache to look at these colors.”
The image can also be viewed in this slideshow as part of the exhibit it’s housed in at The Spencer Museum of Art.
Via Technoccult
As International Infictive Month begins winding down we present you with the last of our installment of podcast and a thought: Infictive is not an adjective (despite what it’s etymology may lead you to believe) it is a subspace. It is not limited to the county baring it’s namesake, but is instead an encompassing state of ultra-real. It is nothing which you can posses nor is it a quality which can be attributed to any person or object. Things simply either occupy the space and play with the circuit or else fail to engage it, ’nuff said. Consider occupying such a space more often or be careful not to invoke it. You could easily wind up eaten by the harsh cruel game like so many others. Walk free ’til dead, brothers and sisters. 81! 
