I have always thought of computer media as active partners in the creative process, a methodology I have referred to as “conceptual navigation”. I write software in order to explore my (often ambiguous) intentions. Once an idea is formalised in a program, one can evaluate its imaginative potential by way of the feedback that program provides. Since a program reflects the objectives of the artist, programming is considered a method of artistic introspection. Software is thus instrumental as a functional, materialist means allowing the active manipulation of otherwise purely conceptual constructs.

Over the years, my work has primarily centred on (1) generative systems, including plotter drawings created from genetic algorithms (nested LISP functions viewed as DNA), (2) human-machine interactive music systems using machine-learning and (3) interactive audiovisual installations, many of them using computer-vision. I am also fascinated by the problem of translating digital/virtual artefacts back into the tangible analog world as to make them available for humans to be experienced. This raises questions of how digital art (1) is connected to the sensual parameters of human physicality and (2) how it can be referenced/understood from the whole of human culture and the massive depth of its history.