01. about background, trajectory
As a consumer, I must think about how the artist changes the rules of the precarious stability of psychology. What are our tolerances for forfeiting valuable pitch hearing over and over again? It’s fucking crazy, to live this life. To act like someone who is completely out of control is being viewed as a person.
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.
2. What are some of your main influences?
Chantal Akerman, Ornette Coleman, Noam Chomsky, Mark Fell, Helen Frankenthaler, Charles Gaines, Holly Herndon, Mark Leckey, Reza Negarestani, Marcus Schmickler, Iannis Xenakis, CSAIL, IRCAM, family, friends…
Trojan horse goals basically.
03. new media is…
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?
Early experiments with the use of neural networks to control a Serge modular synth
04. what is your typical day like?
09:00 AM – Gym
12:00 PM – Tan
05:00 PM – Laundry
05. what are you working on now?
We emulate reality but rarely find or even acknowledge the precocity of compulsion and capital and the fantastical; all presented with a simple melody as rational aggressiveness. As such, we have empirically established that the easier to use or digest = the most disquieting? These ideas of our blood and twentieth-century avant-garde work repeatedly onto a deterministic, humanistic yellow. A perpetual decomposition analysis. The few who have not cheated at endgame threaten evaluation by using ‘agency’. The initial works for this pursuit are to be titled. The basic idea behind what I am doing is mapping out the observed performance. But also a great deal of distension and isolation expressed in UV light!
06. do you have a collaborative idea that you want to get off the ground?
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.
07. what is the most recent thing you’ve learned?
The feeling of being publicly correct and flatteringly superior – they are perfect!