My artistic practice responds to technology as a contextual site of different social, historical and technological relationships. I employ materials such as performance, digital audio and optical media to examine these relationships, and I am especially interested in how my work is shaped by the tools and processes I use to produce it.

I think a lot about the intersections of the technological and social histories of the media I use — more specifically, the ways in which media technologies have been developed to produce specific ways and hierarchies of seeing, hearing, feeling. An example of this is my preoccupation with computer music and digital audio, which I see as a socio-technological material, shaped by its roots in mid-century wartime technology and information theory.

My work is informed by the methods (and aesthetics) of science and engineering, but I try to make use of them in ways that question and distance themselves from the rationalist, high modernist philosophies encoded within. Rather, I think of my work as being embedded in a conceptual framework of “scientific fiction” or “theory-fiction”. My works deal with these considerations in more and less direct ways. Some of them are proposals of how a media technology that functions very differently from its conventionally used counterpart might look like. Others are aesthetic experiences which make use of a specific kind of technology in a way that seeks to foreground its external presence.

Since most of my practice involves “programming” at least in some sense, I am also concerned about software hierarchies. In particular, I make use of free and open-source software such as SuperCollider, ffmpeg and Python for most of my work. I have found that this choice has made me more sensitive to the technological infrastructure within which my practice is situated, and I appreciate how it opens up new possibilities for exchanging knowledge. As a consequence, I have decided to publish source code some of my works — see the individual project pages for more information.