Wall labels follow the layout template of a first edition of Cicero’s De Finibus Bonorum et Malorum, or On the Ends of Good and Evil. The text has been artificially-generated to algorithmically draw on and learn from new source material united by a thematic through line of pleasure, pain, and ethics.In the 1914 first edition of this De Finibus, Cicero's classic treatise on ethics, the Latin original text is shown side-by-side with its English translation. The first words on page 36 of the book, “lorem ipsum,” are meaningless without the prefix left hyphenated on the previous page; reconnected, the words are “dolorem ipsum” ("pain itself"). Today, a scrambled version of the paragraphs that follow is ubiquitously utilized in word processors to autofill a page with loops of nonsensical placeholder text, a curious de-contextualization of philosophically earnest material.On the wall labels, the artist has used machine learning to print new meditations on pleasure and pain from a progressively growing artificial "hive mind” (subjectively-curated and contradictory, drawing from sources ranging from philosophical creeds to romance novels, scientific writing to poetry) in an exploration of this threshold between meaning-making and gibberish.