Creative Praxis: Generative Aesthetics:

Coaxing signatory systems towards emergent basins of attraction, the process works by chaotically and combinatorically searching for novel and personally useful graphical languages, which stimulate associative or haptic grammars, engaging the viewer in a 'feedback loop' of reflexive and affective identifications and 'readings'. GenAe is a philosophically stylized investigation of cognitive mimesis and graphical syntax, as subjectively vitalistic embodiment of the entangled relationships linking material and mental processes - a rapport with the apophenic phenomena of the world, akin to a contemporary adaptation of magic.

The methodology is that of the 'patascientist, a hubric joke and frankenstinean cognitive experiment. alchemically attempting to give name and face to stochastic generative systems: to paint with the artifice's own life, it's own latent artifical intelligence, or its demonology. A creative practice syncretically improvised from a localized interpretation of shamanic animism, and a student's grasp of semiotic cybernetics and psychoanalytics. The process demands an attentive engagement, and accentuates consciousness of the editorial co-authorship negotiated between these material 'forces of nature' and our cognitive 'virus of culture'. As uncontrollable aspects of the process, chance procedures stir up that mimesis which otherwise quietly governs our highly selective perceptions and partitions off that cone of orderly silence in which we identify ourselves and discern our very 'home' in reality.

Generating graphic artifacts to illustrate and articulate that permeable margin dividing mediated languages, working with visual-audile-social means as performative-affective mediums. Stimulating that mimickery and enfolding by the body with it's haptic and synaesthetic 'readings' of the situation, they work at creating an encounter and resolution with something experientially - yet paradoxically and parasitically,-'alien': our subject's place within the body itself.

These techniques work through direction and redirection, rubbing attentions against presumptions. Our art oscillates and makes malleable the habits by which images are imagined [or metaphorically, how the word becomes flesh]. Ink is observed by the eye to transition into a 'becoming' of thought and signification, and vice versa. As an idea leaps across the synaptic gap of what is and is not 'there', the meat emulates an association, and so our ideas are threaded. A sympathetic concept begins to accumulate, like a tiny homunculus, a golem: a simulacra.

I crave these historically feral proliferations. Through the repetitions and differentiations of these surprisingly effective and communicable techniques, a type of cognitive freeware is distributed, tools for developing tactics to generate great abundance of abstractions, figurations and iconoglyphs. Markings and meanings become active on all scales, imagined together by a multitude of peoples.

Scouring the plenum for those fleeting nodal points of autonomic creative flux, reflecting on the uncannily affecting mark of a loosely calligraphic 'accident', these series of 'drawings' are my efforts to open and enlarge my facility with the lexical field of ink and paper through rapport with it as an active medium. Between stabilized planes and panels, a sprawling matrix of lateral and synaesthetic mnemonic associations emerges. To express and explore these object/subject-relations, my procedures summon up their own markings, like other-dimensional shadows stepping forth from the interstice.

Generative arts function to establish and maintain a reciprocal and equivocal relation between the self and the world - a rapport of phenomenal and sensual engagement. The 'rorshach' image invites this intimacy, and polysensually enfolds a contact between complimentary surfaces: thoughts fondling a material sign. A haptic image always implicates the viewer-as-reader-as-artist. an equivocal participant in the subtle schema and shifting strata of their own encounter with culture, nature, and life.

Illuminating and destabilizing those classical and classist biases of attraction and revulsion, those basins of sympathy which direct and often impede our freedoms for creative reconceptualization and cognition, art begins as an embodied social work, with an unleashing of libido suppression and liberation from slave-mentality, unlearning our own self-defeating behaviors and enculturated stupidities - deprogramming our very 'civilized' and stubborn obedience to a tradition of folly and needless suffering, through emancipatory practices of contemplation and creativity.

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