Il appartient à la perception de pulvériser le monde, mais aussi de spiritualiser la poussière. -Gilles Deleuze- Introduction: Anticosmic invasion of formless prurient noise Exophilie was an experiment in using video game creation to graft together found metal harsh noise and AI generated lovecraftian pornography. After months of experimentation, five tracks of scrap metal noise (junk metal, broken power tools, and distortion pedals) were improvised. Each track was then transposed in a 3D interactive environment which self- destructs following the sound movement. Inspired by speculative concepts of a reality hostile to human cognition and the post-Anthropocene, all visual elements were generated with Disco Diffusion, an open-source text-to-image entity without moral limitations. Cut-up techniques from weird Lovecraftian horror and pornography were used for the prompts. Images were reworked to create environments and aberrant entities the player is invited to discover. Each level progressively becomes impossible to navigate due to visual saturation. It is an anti-video game working entirely on vertigo. This paper acts as a postmortem of the creative process and how working with AI and improvised noise impacted my approach to video game design. Furthermore, three insights about the creative conspiracy with machine learning discovered through this experimental process will be presented : the need to liberate the artistic potential of AI technology from corporate shackles, AI as a magickal altar and the immense labour required to adapt generated images to interactive media requirements. These insights underlined the potential of AI creativity to further the transgressive project of artistic endeavours orbiting around contingency, chaos and noise. Creative process: Defining the boundaries of the erotic unfathomable Exophilie materialized into this dust matrix through an urge to confront contingency as a creative process. Several hours were spent recording with various metal textures and devices such as vibrators and power tools. After initial testing with pedal chains, contact mics positioning, and other parameters, the apparatus remained the same for several months. The aim was to intensify the contingent relationship between the setup and me: for the whole project to act as an interpenetration between noise and meat. This approach draws similarities to DiPiero's thoughts about improvisation and contingency: Thinking contingency takes the premise of interdependence to its furthest extreme: in this view, it is not that discrete, isolated entities connect themselves to form something greater, but rather that the distance between the musician as subject and the instrument as object is not clearly defined. […] The notion of contingency emphasizes the fact that the improvisation, in a deep way, depends – that is, it is not made up of component parts that get connected together, because the component parts do not pre-exist as isolable entities: they are already contaminated with one another as they are expressed in the event. (DiPiero, 2018, p.3) Drowning into noise resonated with the literature I was exploring concurrently: Ligotti, object-oriented ontology, accelerationism, posthumanism, etc. The noise resonated with Graham Harman’s proposition of a Lovecraftian “weird porn”: “in which the naked bodies of