New Genesis draws on 18th- and 19th-century history painting to resituate the story of Genesis in a speculative and fictionalized dystopian landscape. On an island of debris, robotic warriors rescue a wounded machine, as others point in the distance; in the background, a mushroom cloud erupts, signaling their participation in an apocalyptic war. Relics of human invention and civilization, including submerged cars and the torso of the Venus de Milo, attest to humanity’s obsolescence. Where such objects once emblematized ideal concepts of beauty, bodies, and creative skill, they have since been replaced by artificially intelligent forms—a new “classical ideal”. Song reinterprets Aldous Huxley’s idea of the “brave new world” within a future inhabited by robots, to ask not only what it will mean to live, but also to create, within its technoreality.