My work considers the impact users have on their medium, and the impact the medium has on its users. Metacontext is just one experiment in which aesthetic traction is secured by conveying material translation over time.
Lots of Blurb...
As part of my studies in BSc Creative Computing, I challenged Goldsmiths to an intellectual synthesis of Fine Art and Computing. Consequently, I was taught alongside students in BA History of Art and MFA Computational Studio Arts (Duttman, Jefferies).My aspiration was to build visual representations of human behaviours that are unique to current electronic working practice, and specifically to discover new procedural aesthetics for communicating biometric expressive behaviour by way of digital computers.
Drawing on contemporary media theory (Burnham, Williams, Snow, McLuhan), contemporary philosophies of art (Greenberg, Benjamin, Heidegger, Deleuze, Nancy) and observations of pictorial style (Gestalt, Arnheim, Rawson, Willats), I established an argument against popular trends in computer art (Colson, Maeda, Fry, Latham, Manovich, Verostko, King, Morh, Lambert) and put forward a pressing need to identify those characteristics of digital computer use that are phenomenologically isomorphic with at least some characteristics of using plastic media.
To begin this process, I began reading into cognition, emotion theory and subjective consciousness (Spearman, Norman, Pessoa, Picard, Broca, Lehar, Bergson, Nagel) and I derived an original model for recording human visceral, behavioural and cognitive control of a digital computer. Drawing on prior works in academic and commercial domains (Maeda, Picard, Fry, Perlin, Musgrave, Worley) I designed and built an original software system to facilitate in making biometric and self-programmed gestures in computer art.
The strategic combination of computational algorithmics (Dijkstra, Perlin, Worley, Musgrave) with current artistic practice at Goldsmiths’ and in the history of art (Kandinsky, Malevich, Stankowski, Duchamp, Pollock, Martin, Burnham, Morh, Morellet, Carra, Apollinaire, Creed) has resulted in original examples of expressionist algorithmic art that are informed by both critical and conceptual preparation.