Clearly the desire for the same is operative in various ways in many domains: at the level of nationality, within the social, in terms of class, or by political identifications, subcultures, etc. Just as frequently, the desire for the same is challenged by its opposite: the desire for the different.

... by a Free Play of Algorithmic Patterning. In modeling the game Chutes and Ladders on a computer, we gain insight into the nature of both games and computation. The computer version, unlike the rule bound cardboard version, is unfixed, thus allowing for the displacement of a moral overlay by a free play of algorithmic patterning. The abstraction of the model preserves a structure but unleashes a principal of variation: the computer makes every constant a variable (as Marcos Novak observes as he describes the liquefaction of architecture). The arbitrariness of particular rules becomes evident.

Pornocopia imagines pornography as a machine, a system, a software, an algorithm: a device for the multiplication of desire or for the production of desire’s contagion. It is structured as 10 software mechanisms, which play out a sequence of state changes within a single minute while containing a series of porn images.

A culmination of the work with harmonographs, this piece incorporates a sound track which was constructed using techniques analogous to the curves, and a voice-over which makes links between the abstract forms and social, sexual, and computational concepts. It is the first step in a narrativizing thrust of the work.

1000 numbered curves in a continuous tweened loop inhabit two reams of office paper. In the gallery, visitors were invited to take away pages from the stack and interupt the continuity of the tween.

The following animation shows all 1000 curves as if the stack of paper were used as a flip book:

In addition to the superimposition of images, there is a time-based strategy of accumulation of variation in sequence. These two pieces use this technique. They also embed the curve within other systematic relations.

This series investigates the effects of accumulated random figures. As in the work of abstract expressionists like Pollack, the aggration of rendered gestures define a characteristic mood that adheres to the nature of the media rather than seeking to transcend it.