macrofluidic

vanitas_veritas

black paper, october 2026

This is the context for vanitas_veritas, a work in a sink by Kat Titterton. It stands in two places with one water: vanitas, a stainless sink in a room, designed and not yet built; and veritas, the same basin on the web. A white paper, in black.

In short. A sink you cannot wash your hands in. The water is a machine dreaming: a GPU writes a new vanitas prompt, dreams it, and walks to the next, frame by frame, without end, and the frames pour from the tap to the drain. Reach in, and the dream goes where your hand goes for a moment, then slips through your fingers, down the drain. Hold the faucet handle and the dreaming stops. No water, no dream. A touch in vanitas moves the water in veritas, and a touch in veritas moves the water in vanitas. At vanitas, the water dreams the face of whoever stands at the sink, while they stay.

six minutes to read. longer, if you open the folds.

01  the thesis

no water, no dream.

Machines that dream at scale drink water: data centres evaporate it to stay cool, and one estimate puts the training of a single large language model at 700,000 litres of fresh water1. Here the metaphor is plumbing. The water in the basin is a GPU dreaming. While it dreams, the tap runs. Hold the faucet handle, and the dreaming stops: what is left runs to the drain and the basin stays dry.

why a sink.

Slop is everything but the kitchen sink, so the work brings the sink. The building was ready for it: under tiat’s gallery on Powell Street, where the work was first proposed, the basement keeps “a slop station (an empty room with one metal sink)”2, found only after the sink was drawn. And San Francisco’s tech has carried a sink before. On 26 October 2022, Elon Musk walked into Twitter’s headquarters with one in his arms, “let that sink in”, as his purchase of the company, now X, neared its close3. A sink is where tech makes a joke of itself. This one does not let you wash your hands of it.

you can't wash your hands of it.

Vanitas still lifes, from Leiden in the early 1600s, pile up skulls, cut flowers and soap bubbles to say that everything you want is already going4. This one never holds still long enough to want. Each dream is new, never repeated, and on its way down the drain. Reach in, and the water under your hand goes where your hand goes; then it slips through your fingers. A sink you cannot wash your hands in, placed where people wash their hands, says the rest without a word.

sink == sync

In 1665 Christiaan Huygens saw two clocks hung from one beam fall into a shared rhythm5. Here two basins hang from one spring. vanitas and veritas drink the same dream at the same moment, and a hand in either moves the water in both. Their names are one swap of letters apart6, as sink and sync are one sound apart: one water.

water = gpu.dream() # no gpu, no water

02  veritas

veritas is one web page, sync.html, open to anyone: a basin seen from above, a rectangle like the frames it carries, under ribbed glass, with a tap at the top and a drain in the middle. It explains nothing about itself. Six things, for the record:

the spring
A GPU that dreams without end. Each dream begins as a new prompt in the grammar of the Midjourney recipe Kat’s stills came from, vanitas [flower, skull, soap bubble]: three of the old symbols and a way of going, never the same words twice: 1.3 million prompts, about five years of dreaming. It is dreamed out of the last dream, pulled back toward one of the eight pictures on her vanitas moodboard so the taste stays hers, with open-source diffusion7 made fast enough for a small computer8, and graded silver and amber like the sources. On the way to the next dream it dreams three more places and glides through all of them, so forms melt into one another instead of fading. Every frame is drawn at 2560 by 1920: on Kat’s Mac, a frame every two to three seconds. A picture Kat makes by hand in Midjourney and saves to the spring’s folder becomes its next dream.
the water
The frames pour in at the tap and run to the drain, carried by a stable-fluids solver9 with a vortex at the hole. Every half minute or so a dream comes into focus; then the water takes it apart again. Besides its name, the only words on the page are code: the prompt being dreamed, water = dream("vanitas [peony, skull, soap bubble], blooming"), and the grip while you hold.
the hand
Press, and the water under your palm goes where your hand goes. The glass lies flat over it, and the moment you reached in stops changing. The grip loosens by the second, grip = 0.55 after one, the water leaks out between the fingers, and what you held slips down the drain. The space bar is the plug: the drain closes and the dream pools, and when it opens, everything goes.
no water
When the spring stops, the tap closes; what is left runs to the drain, and the line reads water = None. A last drop, now and then. Without WebGL2, the page shows an empty basin.
your face
Only at vanitas. A small camera in the print sees whoever stands at the sink and, every two seconds, sends a frame to the spring as the reference for its dreams, the way Midjourney’s omni reference takes a face. The line of code says so: --oref you. Within seconds the water is dreaming you, in every basin at once; step away, and you go down the drain too.
one water
A hand in the water travels to every other basin as an anonymous event over public Nostr relays, and is replayed there a moment late: a push, a grip, a thin ring of light. Gold, if the hand is at vanitas.
under the glass

One HTML page: no framework, no build step, no accounts. The solver runs on the visitor’s own graphics card: the frames pour in as the pigment, re-forming out of the newest frame, freshest where the tap lands. A grip pulls the water under the palm toward the hand’s own motion, except in five gaps where the fingers part. The spring is a short Python script around Stable Diffusion 1.5 with LCM-LoRA7,8: a dream takes about four seconds on an Apple M5, and while the GPU dreams on, the chip’s Neural Engine enlarges each frame four times with Real-ESRGAN, with a half-size copy for phones. It writes the newest frame and one small file saying what it is; veritas asks for that file every second or so, and closes the tap when nothing new has come for twenty seconds.

while held: grip *= .55 # it slips

03  vanitas

veritas is the invitation; vanitas is the place. A freestanding stainless sink, 39½ × 30 × 25 in, with a self-portrait rising above it on one post: dye-sublimation on glossy aluminium, 24 × 20 in, lit so your own face lands on the bowed figure. In the bowl, a 27 in screen lies under a tray of real water: the tap runs, a hand ripples it, and the dream shows through. Behind the print hides a small camera; it sees whoever stands at the sink, and the water dreams that face for as long as they stay. The faucet handle is the tap: hold it and generation stops, no data flows, and every basin drains; let go, and it floods back. A QR code on the rim opens veritas on your phone: your finger there stirs this sink’s water, and every basin’s. In full: vanitas.

Status: designed, not yet built; its parts, wiring and setup are in the build guide, and its list price is $17,666. vanitas was first designed in 2026 for tiat’s Epistemologies of Slop open call in San Francisco6; a basalt version drawn after it is set aside for this one.

how it works, and what is proposed

Under the bowl, an old MacBook Pro of its own, lid closed, dreams the water, enlarges it and serves the page the screen shows, under real water. Every cable runs down the drain, one outlet powers it all, and the screen boots straight into the water: a power cut is just the tap turned off. The camera’s frame goes to the spring with a key only vanitas holds, is used once in memory, and is never written down or compared with anyone. The camera asks no one first: a sign at eye level by the door and beside the sink says so, read before the lens can see you, and a light shows while it looks. Nothing it sees is kept. Proposed with it: a few seconds in which a dream made from your face stays in the sink, where you can wash it away before it goes to every basin, and a contact to take it down after. Until vanitas stands, the spring runs on Kat’s own Mac; then it moves to the MacBook Pro under the bowl, so vanitas is the spring.

Texts, formats and a technical rider for hosts and juries are below.

sink == sync # one water

04  what it keeps

Almost nothing. A hand in the water travels while it moves: where in the basin, whether it grips, and whether it is at vanitas. The relays pass it on and keep nothing. There is no record of a play and no account. At vanitas, while someone stands at the sink, a frame of their face goes to the spring every two seconds, used in memory; the dream made from it goes to every basin, like any other. The spring keeps its last sixty frames on its own disk, deleting the oldest as it goes, and remembers only how far through its prompts it has dreamed.

whatwhere it goes
a hand in the waterto every other basin, over public relays, for as long as it moves; not kept
a face at vanitasto the spring, every two seconds while they stay, in memory; never written down. The dream made from it goes to every basin, where anyone watching can keep what they see
the dreamsfrom the spring to every basin; the spring keeps the last sixty frames, then lets them go
younowhere. No picture kept, no name, no record

The page’s host, the relays, the spring’s address and the server the page loads its relay library from are run by others, or by Kat. Like any server a browser reaches, they see a connection’s network address; the events themselves carry none.

keep(nothing) # the drain takes it

05  lineage

the science underneath

Clocks that fall into step on a shared beam5; water that a computer can push around in real time without blowing up9; pictures pulled out of noise in a few steps7,8. The eye behind the piece is a neuroscientist’s: things watched under glass, never quite held.

homo = bulla # man is a bubble

06  where it goes

veritas can be anywhere; vanitas needs a room. It goes first to the call that fits it best, then home to San Francisco, where the dreaming machines are made.

Then wherever an open call takes it. These fit it, all public:

room = next(calls) # san francisco first

07  what happens next

whenwhat
nowveritas and the spring are built and run together on Kat’s Mac. veritas is public at its own address, which finds the spring by itself whenever the spring runs.
vanitas, 2027Designed, not yet built: a stainless sink, one water with veritas. First call: CURRENTS 2027, Santa Fe. No room is confirmed yet.
a second sink, 2027 onwardProposed: another sink in another city, the same water. Sought through open calls.

in progress

proposed

for those who read closely
  • After the first room, the register is the museum’s. Ian Cheng’s Emissaries, live simulations that never repeat, was shown at MoMA PS1 in 201715. The Whitney’s artport commissioned web works to mark sunrise and sunset in New York each day, from 2009 to 202416. Live software can hold a museum room; vanitas_veritas adds the hand, and a tap anyone in the room can close.

sink.pair() # a second sink, one water

08  who is behind it

macrofluidic is the name Kat Titterton signs her code-poems with; one was signed macrofluidic × midjourney. This one is signed with every hand in the water.

Kat Titterton, San Francisco

Generative artist: Bare Metal, a solo generative-art exhibit at Human Tech Week, San Francisco, 202517; Vanitas Veritas, 20266; code-poems as macrofluidic. Also a scientist in imaging, signal and machine learning, trained in cellular neuroscience and mathematical systems biology: expansion microscopy at MIT’s Synthetic Neurobiology Group; the Cell Painting screens behind two of the largest such datasets, at Axiom Bio; tau-aggregation screens and microfluidic neuron-culture devices at AbbVie; eight peer-reviewed papers17. A freediver: she knows what a breath of water costs.

The work: veritas, live; vanitas, in its doc and its build guide. For hosts and juries: 09. Contact: katherinetitterton@gmail.com.

return we # every hand in the water

09  for hosts and juries

Texts at standard lengths, the formats it can take, and what it needs in a room. What is marked designed or proposed is planned, not confirmed.

texts to paste

titlevanitas_veritas
creditKat Titterton (macrofluidic)
one lineNo water, no dream.
one line, the edgeA sink you can't wash your hands in.
one line, togetherTwo basins, one water: a hand in either moves both.
25 wordsA sink you can't wash your hands in. Its water is a GPU dreaming endless still lifes. Reach in, and it slips through your fingers.
50 wordsvanitas_veritas is a sink you can't wash your hands in, and the same basin on the web. Its water is a GPU dreaming still lifes, never the same twice, from tap to drain. Reach in: it follows your hand, then slips away. Hold the faucet handle: no water, no dream.
150 wordsvanitas_veritas is a sink you can't wash your hands in. It stands in two places with one water: vanitas, a stainless sink with a self-portrait above it, and veritas, the same basin on the web. The water is a GPU dreaming. It writes a new prompt in the grammar of the artist's Midjourney recipe, vanitas [flower, skull, soap bubble], dreams it, pulled back toward her vanitas moodboard, and melts on into the next, never the same twice. The frames pour from the tap to the drain. Reach in, and the water under your hand goes where your hand goes, then slips through your fingers. In vanitas, stand at the sink and the water dreams your face while you stay, keeping nothing. Hold the faucet handle and the tap closes, in vanitas and on every screen: no water, no dream. A touch in either basin moves the water in the other.
statement, about 200 wordsVanitas paintings piled up beautiful things to say they were already going. My pictures are AI bubbles, and I mean it twice: the soap bubble the Dutch painted for fragility, and the speculative one many of us fear we are standing in. Slop is everything but the kitchen sink, so I am bringing the sink: vanitas, a stainless sink with my self-portrait above it. Its water is a GPU dreaming: a new vanitas prompt in the grammar of my Midjourney recipe, dreamed, then walked into the next, never the same twice, and every dream runs to the drain. Machines that dream drink water; here the metaphor is plumbing. The faucet handle is the tap. Hold it and generation stops, no data flows: no water, no dream. Reach in, and the water under your hand comes with you for a moment, then slips through your fingers. I freedive; I know what a held breath costs, and that you cannot hold water. In vanitas, a small camera gives your face to the water while you stay, and lets it go down the drain when you leave. The same water runs on the web, as veritas, one swap of letters away. Huygens saw two clocks on one beam fall into step; here two basins hang from one spring, and a hand in either moves both.

formats

formatwhat it isneeds
veritasbuilt: one page in any recent browser, on a phone or a computer, drinking from the spring; a hand in it moves the water in every basina browser with WebGL2 and the spring’s public address; free
a wallveritas full screen on a touch screen or a projector; a visitor reaches in by touch or pointerone screen or projector, a small computer, network
vanitasdesigned, not yet built: a freestanding stainless sink with a self-portrait above it on one post; real water over a screen in the bowl; a small camera behind the print; the faucet handle as the tap; a QR code that opens veritas (its page). veritas in its vanitas mode is built.one outlet, network
vanitas as the springas designed: an old MacBook Pro under the bowl runs the spring, so veritas, wherever it is open, drinks from vanitas, and only its faucet handle closes the tapnothing more
two sinksproposed: a second sink, side by side or in another city, the same wateran outlet each; network

technical rider

veritasvanitas, as designed
footprintany screen; on a wall, 2 to 4 m widefreestanding, no wall; footprint about 30 × 25 in; its measures are on its page
powerone outlet, if shown in a roomone outlet
hardwarea browser with WebGL2a 27 in screen under a tray of water in the bowl, a 5 V pump, an old MacBook Pro under it, a small wide-angle camera
the springits address: for now Kat’s Mac, through a tunnelan old MacBook Pro of its own, running the spring
networkthe spring’s address, and public Nostr relays for the shared hands; without it, the water stopsthe same, for the shared hands; the spring is under the bowl
setupnonethree commands on the MacBook Pro, then an afternoon to fit the sink (build guide)
staffnonenone, by design: it is meant to start itself and recover from a power cut (to be tested on the first build)
safetyno waterabout 5 litres of water in a sealed tray held above the screen; a 5 V pump; a GFCI power strip; the faucet handle presses two switches beneath it
accesstouch, a pointer, or the space bar for the pluga hand in the water, or a finger on a phone from the QR code; the faucet handle needs one hand, or a forearm
datakeeps nothing. A hand travels while it moves, as an anonymous event over public relays, and is not keptthe same, and, while someone stands at the sink, a frame of their face every two seconds, sent to the spring with a key, used in memory, never written down; a sign at eye level says so first

bio

Kat Titterton, about 80 wordsKat Titterton is a San Francisco artist and imaging scientist. She ran and tuned expansion-microscopy pipelines at MIT, designed microfluidic neuron cultures at AbbVie, and oversaw the Cell Painting screens behind two of the largest such datasets at Axiom Bio. As macrofluidic she makes generative work about what images do once machines make them: Bare Metal (Human Tech Week, San Francisco, 2025) and vanitas_veritas (2026, ongoing). She freedives, and knows what a breath of water costs.

sink.install(room) # one outlet

·  sources

  1. Li, P., Yang, J., Islam, M. A., & Ren, S. (2023). Making AI less “thirsty”: Uncovering and addressing the secret water footprint of AI models. arXiv:2304.03271. arxiv.org/abs/2304.03271
  2. Hayes, C. (2025, October 2). A place for TIAT. Gazetteer SF. sf.gazetteer.co/a-place-for-tiat
  3. Feiner, L. (2022, October 26). Elon Musk carried a sink into Twitter on Wednesday as deal nears close. CNBC, via NBC Bay Area. nbcbayarea.com
  4. Vanitas. (n.d.). In Wikipedia. Retrieved 15 October 2026. en.wikipedia.org/wiki/Vanitas
  5. Bennett, M., Schatz, M. F., Rockwood, H., & Wiesenfeld, K. (2002). Huygens’s clocks. Proceedings of the Royal Society of London. Series A, 458(2019), 563–579. doi:10.1098/rspa.2001.0888
  6. Titterton, K. (2026). Vanitas Veritas: web doc (printed as the submission) and build guide for tiat’s Epistemologies of Slop open call. kat-titter.github.io/vanitas-veritas
  7. Rombach, R., Blattmann, A., Lorenz, D., Esser, P., & Ommer, B. (2022). High-resolution image synthesis with latent diffusion models. In 2022 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR) (pp. 10674–10685). IEEE. doi:10.1109/CVPR52688.2022.01042
  8. Luo, S., Tan, Y., Patil, S., Gu, D., von Platen, P., Passos, A., Huang, L., Li, J., & Zhao, H. (2023). LCM-LoRA: A universal Stable-Diffusion acceleration module. arXiv:2311.05556. arxiv.org/abs/2311.05556
  9. Stam, J. (1999). Stable fluids. In Proceedings of the 26th Annual Conference on Computer Graphics and Interactive Techniques (SIGGRAPH ’99) (pp. 121–128). ACM. doi:10.1145/311535.311548
  10. CURRENTS New Media. (2026). Open call for CURRENTS 2027 Art & Tech Festival. EntryThingy. Retrieved 26 October 2026. app.entrythingy.com
  11. Gray Area Foundation for the Arts. (n.d.). Cultural Incubator. Retrieved 25 October 2026. grayarea.org/create/cultural-incubator
  12. NYU ITP. (2026, May 26). Open call for Stochastic Labs, deadline May 31st. Retrieved 25 October 2026. itp.nyu.edu/opportunities
  13. Kala Art Institute. (n.d.). Residencies: the Kala Fellowship. Retrieved 25 October 2026. kala.org/residencies
  14. Ars Electronica. (n.d.). Prix Ars Electronica: open call. Retrieved 25 October 2026. ars.electronica.art/prix
  15. The Museum of Modern Art. (2017). Ian Cheng: Emissaries, MoMA PS1, 9 April–24 September 2017. moma.org
  16. Whitney Museum of American Art. (n.d.). Sunrise/Sunset commissions, artport, 2009–2024. whitney.org
  17. Titterton, K. (2026). Curriculum vitae. kat-titter.github.io/kat-titter/cv.html

Checked on 25 October 2026. What is marked proposed is planned, not confirmed.