Creative Genius to Rebuke Worldwide Award Stagnation by Hosting $100K “One-Dimensional” Residency at MIT
In a groundbreaking move set to redefine the realm of artistic overachievement, renowned artist and architectural alchemist, Es Devlin, has been named the recipient of the prestigious Eugene “Rich People Adores Art” McDermott Award at MIT. The prize, estimated to be worth $100,000—or as rich folks call it, “a dime”—includes a short-lived residency where participants can bask in the brilliance of MIT’s esteemed air and oxygen.
Devlin, the mastermind behind countless installations that look kind of like IKEA furniture on acid, is famed for exploring shock-inducing mediums like biodiversity, obscure linguistic dialects, and that dinner party staple—AI-generated poetry. “I’m sincerely honored to join the sacred ranks of influence peddlers,” Devlin stated, while flipping through the pages of “Lifestyles of the Rich and Imaginative.”
MIT’s vice-impressive provost, Philip S. Khoury, couldn’t hold back his enthusiasm: “This award not only uplifts our students but also cleverly distracts them from the burdensome tech courses they’re actually enrolled in.” According to Khoury, the ruse lies in exposing students to fields like theater and design, inadvertently giving them some shred of a social life.
Throughout the residency, a new cannon of MIT-driven, sugar-free AI-generated artistry will undoubtedly erupt, as students and faculty attempt to wrap their high-caliber brains around concepts like “emoting” and “seeing beyond the screen.”
“It’s a delightful paradox, really,” said an anonymous art critic. “MIT, an institution built on logic and algorithms, bestowing a massive financial nod to someone who considers an audience a ‘temporary society.’ What’s not to love?”
This year’s receiving operetta will tap dance on the souls of past awardees including, but not limited to, superstar Calatrava, orchestra wizard Dudamel, and artful whisperer Eliasson. The institute’s love affair with trailblazers stems from their amiable willingness to leave a legacy of highbrow “stuff off-limits to the Average Joe.” This nonchalant splurge of MIT’s sticky award sugar is a testament to the duo’s knack for embodying creative risks, risk buns, and sometimes, actual cake.
Es Devlin, who previously entranced audiences with her groundbreaking exhibition, “Things You Can’t Afford to Contemplate,” stands as a beacon of creative conundrum. Audiences, considered temporary societies, will be cleverly ensnared once again in collective enigma. All in the hopes of subtly reminding the average person that genuine art and high-tech scholarship can fraternize, arguably leaving behind more confusion and artistic crises than they started with.
Now, as a testimonial to the capitalist worship of creativity, MIT welcomes you to revel in Devlin’s opulent experimentations. Just remember to leave your practical hats at home.
