My research programme proceeds from a simple diagnosis: the field of contemporary art does not lack talent; it lacks structure. What inherited theory fails to provide is a criterion that operates independently of institutional recognition, distinguishes between types of reorganisation, and allows for the conceptualisation of the artistic event under algorithmic conditions. The lines I articulate address this deficiency from distinct angles.
I do not conceive of research as a reflection on practice, nor practice as an illustration of theory. Each operates with its own rigour. Articulation occurs when a line of research selects specific works or systems as case studies to examine the theoretical framework.
The programme is organised around a theoretical core that addresses the ontology of the artistic event from three articulated angles: the ontological-relational (Structural Surplus), the historical-institutional (Recognition and Surplus), and the cognitive-processual (NeuroArt: Cognitive Surplus). Projected onto this core are two experimental programmes that test the framework at its limits, in order of increasing displacement of the human agent: the articulation between data, algorithmic generation, and the production of work with human participation (Cosmic Data Lab), and the possibility of artistic events produced entirely between non-human systems (Machine-machine art). The programme is completed by two complementary lines of application concerning the infrastructural dimension of art: the formalisation of the triadic framework of provenance, persistence, and recognition in post-speculative digital art (Post-NFT digital art), and the development of the technical system that materialises these conditions of traceability (KChain).
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The programme is organised around a theoretical core that addresses the ontology of the artistic event from three articulated angles: the ontological-relational (Structural Surplus), the historical-institutional (Recognition and Surplus), and the cognitive-processual (NeuroArt: Cognitive Surplus). Projected onto this core are two experimental lines that test the framework at its limits, in order of increasing displacement of the human agent: the articulation between data, algorithmic generation, and the production of work with human participation (Cosmic Data LAB), and the possibility of artistic events produced entirely between non-human systems (Machine-machine art). The programme is completed by two lines of application: Post-NFT digital art (formalisation of the triadic framework of provenance, persistence, and recognition) and KChain (the technical system that materialises these conditions of traceability).