Exhibition
21 March 2025,
with AiDLAB
VisLAB London
Polymorph is a continuously retrained, multimodal AI environment combining generative models, sensors, and physical materials, where outputs recursively feed future training, producing shifting systemic regimes, emergent attractors, and phase changes across entangled visual, acoustic,
and environmental processes in real time.
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Exhibition
17 March 2024
with AiDLAB
Season Gallery, London
Polymorph I is a multimodal AI environment combining generative models, sensors, and physical materials, where image, sound, and environmental signals circulate through feedback loops, producing transient patterns, cross-modal interference, and localised shifts in system behaviour without recursive retraining.
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Synthetic voiceover, experimental sound,
with Dr Jeremy Keenan
ICLECTIC, London, 2023
The video traces algorithmic cohesions and narrative clustering through agent-based particle interactions shaped by embedded attractors. Four-dimensional trajectory data is mapped directly to sound, producing indexical timbre and audiovisual coherence within a shared data space governed by dynamic rules.
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A series of Blender models and plaster
powder prints based on collected datasets
Copeland Gallery, London, 2022
Leave Britney Alone is a part of a broader series undermining the alleged finitude of data. It investigates how the same dataset can be folded into multiple relationships depending on the criteria applied and the structures through which it is organised. Images scraped from search queries were clustered via t-SNE and translated into dynamic simulations and sculptural forms, where augmented data and reaction–diffusion processes generate shifting configurations shaped by embedded thematic attractors
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installation, online platform,
audio storytelling
with Idle Institute
ATP Gallery, London, 2018
The work revolves around five bespoke exercise machines engineered to rehearse and refine moments of minor public humiliation. The apparatus sat inside a grey institutional display, layering atmospheres of contemporary bureaus, design fairs, waiting rooms and gym spaces. Each had a set of instructions in the form of a narrative manual, embedded in an online interface and audiguide. Through the analysis of the language and voices of automated customer service labyrinths, motivational talks, helplines and public transport alerts, the work engaged with sometimes seductive and often absurd games and algorithms of institutional infrastructures.
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Red Mansion Art Residency
with Idle Institue
Bejing, 2018
The work draws on a narrative developed during this period in collaboration with residents of Feijiacun, a village on the outskirts of the city where the residency took place.
It tells the story of a prince and a princess, both driven by a persistent saviour complex, whose attempts to intervene and resolve the conditions around them generate unintended consequences.
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weather balloon, GPS trackers,
Oxford, 2013
The work revisits historical ideas about material properties through sculptural experiments that invert expected physical behaviour. Using jasmonite, tracing paper, weather balloons, and GPS trackers, the project stages objects where apparent weight and lightness misalign. Drawing on nineteenth-century speculations about molecular transformation and flight, it constructs alternative physical conditions in which matter follows fictional logics. Recorded balloon trajectories produce lines that register movement through air as spatial drawings.
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Polish seaside, 2014
The work researches historical maritime categories of flotsam and jetsam through a staged claim over a concrete slab washed ashore after Cyclone Xaver in Sztutowo. By withholding its dimensions, the request exposes how institutional procedures accommodate partial knowledge, briefly granting ownership before retracting it. The piece operates as a poetic negotiation of concealment and territorial claim, where legal language momentarily stabilises an object whose status continues to shift.
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Video, 2014
Hideouts forms part of the Encyclopedia series, assembling a bestiary from unreliable zoolical accounts, misread observations, and fragments of fiction. It follows animal hiding places as indirect portraits, where presence is inferred through spatial conditions. Using 3D scanning and casting, voids are converted into objects that resemble evidence while retaining uncertain origins, situating the work between documentation and fabrication.
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Comissioned lecture series,
For Orphan Drift
March-April 2026
London & San Francisco
This lecture series asks how to imagine seeing in thermal or ultraviolet, why only virgins can see unicorns, or what it might mean to smell in surround. It follows per-ceptual fields that do not align with estab-lished sensory divisions or synesthetic analogies, tracing instead ecosystems of entangled, incommensurable sensing registers. Drawing on research in machine vision and interspecies perception, it examines the material infrastructures through which perception is organised and extended. Sensing and sense-making appear as variable and constructed, distributed across techno-biological systems that continuously recalibrate what can be detected and acted upon.
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Online lecture
27 March 2026
This lecture tracks a shift from epidemiological virality toward metabolic imaginaries within metaphors of algorithmic circulation. Historical practices of iconophagy and image ingestion serve as distant precedents, while models are fed, starved, and called regurgitative, casting data as allegedly finite resource to be extracted, processed, and discarded.
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Comissioned lecture series,
For Orphan Drift
March-April 2026
London & San Francisco
This lecture series examines intelligence through its material substrates, tracing separate: symbolic, phenomenological, and cybernetic trajectories of AI development. It considers how intelligence relates to matter, and explores biocomputing futures through reconfigured material substrates, including organoids, DNA-based storage, synthetic biological programming, and hybrid computational systems.
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& Structure
Online Lecture
12 March 2026
What makes deep learning “deep”? This lecture investigates the anatomy of neural learning and latent space, critiques metaphors of AI as collective unconscious and structural models, distinguishes relational, distributed and multi-hierarchical systems, and examines how images of AI organise its future.
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PGR Lecture,
Royal College of Art,
17 October 2025,
London
This session examines how generative AI reshapes doctoral research practices, addressing plagiarism by proxy, epistemic responsibility, and methodological uncertainty. It considers how to work critically with AI, integrate failure into research, develop arguments without reducing practice to illustration, and how to construct a research environment that allows one to be wrong.
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& Distributed Ontologies
Public Lecture,
University of Applied Arts,
29 April 2025,
Vienna
This lecture examines where the characteristic “AI feel” originates: how latent moods, aesthetic regularities, and emergent bias arise within distributed generative systems. Bias appears as reproduced patterning rather than embedded, database-bound property, stabilising familiar forms through systemic operations. The talk considers how poietic practice can engage these systems by distinguishing between various forms of systemic “uknowns”: randomness, undecidability, and noncomputability, each conditioning different experimental strategies.
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University of Oxford,
9 December 2024,
Oxford
This lecture examines technogenesis beyond human–machine oppositions, addressing synthetic intelligence as a distributed planetary process with emergent properties irreducible to its components. It proposes “mood” as a systemic mode through which collective attunements become traceable across scales. Drawing on complexity theory and phase transitions in far-from-equilibrium systems, the talk situates synthetic moods as material conditions shaped through infrastructural operations rather than subjective states.
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Public Lecture,
University of Applied Arts,
16 February 2024,
Vienna
This lecture addresses AI as a material system across both its substrates and its operational logics, treating infrastructures, model architectures, and training processes as sites of material organisation. It examines how epistemic, technical and interfacial legacies continue to organise these systems. Attention is given to how bias is materially reproduced through these infrastructures, and how metaphysical assumptions persist in common sense design formulations, such as the separation of style and content.
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Lecture,
Royal College of Art,
4 April 2024,
London
This talk discusses how epistemic approaches to aesthetics in generative AI reorganise meaning and social imaginaries. It examines how assumptions that style and content are separable, and that AI has no inherent aesthetics, sustain exclusionary logics. It also addresses spectacular failures and paradoxes of risk-mitigation strategies, and considers why generative models struggle with fingers.
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Online Lecture,
University of Applied Arts,
11 January 2022,
Vienna
This lecture examines distributed intelligence through the dynamics of collective motion, with particular attention to murmuration as patterned variation that holds together without central control. It distinguishes instrumental control from emergent organisation, drawing on symmetry breaking, topology, and the role of noise in systemic coherence. This vocabulary is used to construct artistic and/or experimental environments where conditions are set rather than outcomes specified.
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Synthetic Encounters,
Presentation,
Royal College of Art,
14 April 2023,
London
This lecture shifts attention from well-discussed problems of deception, misinformation, and truth claims in deepfakes to the production of counterfactual plausibility in generative AI. It examines how these systems assemble coherent worlds that could have been or could be, proposing a crisis of fabulation in which storytelling is reorganised through constrained variation, recursive familiarity, borrowed nostalgia, and limited narrative transformation, while asking how to push generative systems towards more fundamental forms of reimagining.
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School of Architecture and Design, London
University of Applied Arts,
15 June 2022,
Metropolitan University, London
This lecture examines what it means for a system to operate as a system, focusing on the relation between compatibility and commensurability and the conditions under which paradigms shift. It considers how systems expand and admit new elements without full alignment, and how models can function despite structural error, such as miasma or contagion theories that organised effective responses prior to germ theory.
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Online Lecture,
Royal College of Arts,
11 December 2023,
London
This talk examines the risks, seductions, and forms of violence associated with synthetic images beyond their role in deception. It considers how such images continue to operate even when their fabricated status is widely recognised, focusing on affective pull, repetition, and platform amplification. Examples include both “nudifying” systems and applications that impose algorithmic “modesty”, showing how non-consensual transformations, whether sexualising or “corrective”, participate in economies of visibility that produce harm without relying on belief in their authenticity.
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Pre-print book
based on the PhD Thesis
15 January 2026
Gdansk
This work investigates the epistemology and materialism of distributed synthetic intelligence, addressing the paradigm shift introduced by contemporary AI. It examines the ontological politics embedded in analytical, generative, and learning processes, including the metaphysical assumptions and commonsense frameworks that structure them.
Without blaming AIs for socio-political pathologies, the Bestiary analyses the reorganisation of meaning production and distribution within contemporary knowledge systems, and considers how AI systems participate in the reproduction of exclusionary logics. It focuses on AI-generated simulacra, their circulation, and the assembly of meaning in generative processes, while outlining new ways of working with these systems that engage their dynamics critically and productively.
Approaching AI at planetary scale, it treats these systems as complex, multimodal, distributed structures operating far from equilibrium. The analysis draws on complexity science and materialist philosophy, and is anchored in computational experimentation with generative models.
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article
Antikythera Journal
with Tayler Farghley and Gary Zhang
MIT Press, 2025
This paper develops the uncanny ridge as a thought experiment within debates on AI alignment, intersystemic communication, and the limits of novelty in machine learning. It repositions systemic misalignment in AI as a generative force and draws on Masahiro Mori’s uncanny valley, which describes human discomfort toward near-human simulations, while inverting its premise. The uncanny ridge shifts attention from breakdowns in recognition to the conditions under which misrecognition in heterogenous, incommensurable AI environments produce novelty. The uncanny ridge is approached as a site of intersystemic tension in which AI models engage in productive misrecognition, generating new computational strategies and unexpected modes of coordination.
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article
Antikythera Journal
with Jackie Kay and Winnie Street
MIT Press, 2025
This paper develops a design space for a generative time capsule that preserves both an archive of human knowledge and the cognitive function of human thought within a neural network. It introduces Chronoseed as a possible form of a time capsule capable of persisting across deep time, including conditions of civilisational collapse, while remaining decodable and executable in altered technological contexts.
Drawing on historical time capsules, nuclear waste warning systems, and science fiction, it considers how knowledge and modes of thinking might be transmitted across deep time.
Chronoseed is proposed as a generative system in which knowledge remains interactive and reconstructable. The analysis explores possible physical instantiations and identifies DNA embedding as a viable medium for long-term durability and recoverability.
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article
Radical Matter Journal
Vienna, 2023
This article critically examines how emergence is mobilised in contemporary discussions of AI and complexity, resisting its use as a loosely metaphorical borrowing from complexity science. Through a genealogical analysis of ancient divinatory practices, particularly augury, it situates modern predictive systems within longer histories of future-making, epistemic authority, and political control. Drawing on philosophy, complexity theory, and media theory, the article distinguishes material emergence from metaphysical prophecy and from reductive accounts of contingency. It analyses how dominant temporal operations in AI systems recombine the future from past datasets, collapsing present agency into inherited statistical trajectories, while also identifying alternative configurations through which AI systems may interrupt this premature closure. The article explains emergence through systemic undecidability and attunement to material processes, and articulates experimental methodologies as rigorous ways of engaging emergence without metaphorical appropriation.
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article
Photographers Gallery:
Unthinking Photography
with Dr Jeremy Keenan
2024
This article examines how image generation in diffusion models operates by analysing the role of noise, drawing parallels with the practice of dithering. It describes how probabilistic processes structure the gradual formation of images, where randomness is modulated rather than eliminated. The text accounts for how these mechanisms shape the visual character of generated outputs, addressing the emergence of recognisable aesthetic tendencies within diffusion-based systems. It considers the extent to which such outputs remain conditioned by probabilistic constraints, and how alternative configurations of systemic unknowns might enable different visual organisations.
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book chapter
in: Wearable Objects and Curative Things:
Materialist Approaches to the Intersections
of Fashion, Art, Health and Medicine,
edited by Dawn Woolley et al.
Palgrave Macmillan, 2023
The chapter questions dominant accounts of prosthetics as devices that restore a normative body, extend its capacities, or threaten its integrity. It discussed prosthetic relations within distributed AI infrastructures, sensor networks, and predictive systems, where attachment operates through feedback, re-coding, and shifting hierarchies rather than a stable division between human and technical domains. Prosthesis becomes a means of examining how bodies and systems are composed through partial connections, where fragmentation and continuity coexist without resolving into a unified whole. Particular attention is given to the specificity of prosthetic attachment: its emergence through histories of corporeal disruption, its dispersion across technical and environmental layers, and the form of intimacy it establishes. The discussion also revises the notion of touch, addressing modes of contact that remain material despite lacking direct physical interface.
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in: Penrose Helix
Generation & Display, 2021
Early cartography placed myth, religion, and empirical knowledge on a shared surface, where monstrous figures coexisted with geographic facts. These figures shaped images of the unknown, often contributing to racialised and colonial narratives. Their disappearance during the Enlightenment aligns with the emergence of a spatial and temporal order grounded in stability and measurement, relocating monsters into domains such as superstition or culture.
The text treats this shift as a transformation rather than an erasure. Monsters continue to operate within contemporary informational infrastructures, taking the form of digital corpora, conspiracy theories, memes, and circulating narratives.
Such entities are proposed here as having a material form of agency. They generate effects through circulation, mutation, and recombination, functioning as distributed formations shaped by platform dynamics and data flows.
Without resorting to metaphysics or anti-rationalism, the text calls for addressing their presence as active components of reality.
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science fiction short story in:
le Grand K,
edited by Loyko, Tendl and Khôra
with Idle Institute
Science Museum, 2019
Le Grand K is an experimental publication that takes the retirement of the International Prototype of the Kilogram as its point of departure. For over a century, this platinum–iridium cylinder defined the kilogram, serving as the material reference against which all measurements were calibrated. In 2019, it was retired and replaced by a definition based on fundamental physical constants, measured through instruments such as the Kibble balance, following the detection of minute discrepancies in its mass.
Bringing together texts, images, and speculative documents, the publication examines what remains when a unit of measurement loses its physical anchor. Fictional institutions, procedural language, and fragmented narratives rework the kilogram as both artefact and abstraction, tracing its displacement into distributed technical systems.
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in: Momentary Glimpses: an Anthology of Contentedness
with Idle Institute
Lily Brooke Gallery Press, 2019
Enigma is an absurdist speculative story about a traveller who accidentally lands on a planet composed entirely of secrets. On this world, hidden information accumulates as substance: it erupts from volcanoes, circulates as currency, and physically deforms those who carry it. Civilisation is organised around concealment, where inhabitants endlessly disguise themselves and knowledge is both omnipresent and unusable.
The narrative treats secrecy as something material, excessive, and often ridiculous. Despite access to total knowledge, meaning depends on the ability to ask a question that matters.
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with Idle Institute
Xero.Kline.Coma, 2019