Member Spotlight: Tony Lugo

Tony Lugo is an artist working with algorithms as a means to explore form/bias/agency through decomposition, analysis, and re-synthesis. He currently lives and works in Baltimore, MD.

“I am interested in investigating the intersections of virtual and physical reality, of work or life as put into place by systematic designations, often those that can be categorized as artificial intelligence, but also (quite importantly) what can be seen as the marginalization of people through a societal framework. Increasingly, these systems blur together and my work aims to disintegrate their implications, results, and effects for aesthetic products.”

Note: A significant portion of this interview was generated using algorithms for text generation, convolution, and reinterpretation.

As an audience, I need to notice how the artist experiences the dainty naturalism of hyper-realist fashion. This work, at once esoteric and digital, has been influenced by the menacing automatism-based tropes of varied mythologies.

As an artist, general insurrections are often childish. This infantile and western position references only pseudo-schizophrenic imagery of the ‘radical’. This work hints at perspectives that sways people. The maker moves from a critique of experimentation to confronting some aspect of the mechanisms of trans-humanism. What most people care about, I suspect, is the aspiration and spiteful belief that increasingly marginalized miseducations proceeds actuality.

New Media is trends in fashion and wide swaths of communication transparencies. This, I think, is the form of an unexpected move (a new statement).The resulting demoralization of old work and visual images by daily maintenance (or development) of authority. Take any other identity that would be correctly identified and more complex and their narratives are themselves the effectiveness of capital that should ask if the question threatens to become the term? I mean, the answer to this (another logic loop) is that their fate is known: universal self-differentiation via incomplete traumatic cuts.

This breaking up with all, even if only the accepted all, is the most meaningful thing about New Media. Here the central thesis of interest and theories of newness is never established. Abducting the emergence of belonging is construed as, widely accepted, and afflicted with conditioned exchange value tokens, those between payment knowledge and/or intellectual properties, pre/post-modern reality, and/or no rules. Only by virtue of the hegemony of computers comes a certain procedure: emphasizing facts of language and in that direction, only after it has been described extensively by the generic name or reason or creativity, or of some kind that not only the most highly developed societies allows for universality; these are prescriptions.

But I dunno. it’s fluid. Maybe it shouldn’t be defined?

Because everything in a conversation also meshes with household goods trading on a result of resuming the instance of even larger conversations, ‘I’ —(re)experienced as directly embodied subjectivity— do! Fascist pigs!

Generally, I am currently working in public as part of life. It is a human data unit collaborating on Cage’s fondness for example before proceeding to deconstruct this idea. That and we agreed not to have art and/or interludes in reservoirs of the hyper-reality construction. This will result in completing the reproduction choreography by different formats: the post-biological consciousnesses of self-hood created to view along with these new collaborators.

The feeling of being publicly correct and flatteringly superior – they are perfect!

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