Most of my current research interrogates the sciences, the arts, and the popular culture to investigate vision and cognition in the long twentieth century. To that end, I have two open lines of inquiry.
My doctoral dissertation, tentatively titled Rendering, attempts to develop a processual theory of production and/of representation in computational media. By following the different valences of algorithmic rendering from the pointillism to computer graphics, I map the contested histories and theories of rendering to elaborate the various ways in which computers visualize and reconfigure our spatio-temporalities. Against both being and becoming, rendering then emerges as a mode of procedural and technically mediated presence. I've given a number of talks on this topic and two publications from this project are currently in the works.
I am also interested in the long history of neural networks as a means to understand the evolving conceptions of subject(ivitie)s and object(ivitie)s. Looking at the uniquely dual position of a neuron as both a material object and a 'cognitive' subject, throughout scientific research (in computer science and neuroscience) and cultural imaginaries (in science fictional texts and films), I attempt to trace the epistemic genealogies undergirding our contemporary artificial intelligence and machine vision landscape(s). I have given talks on the science-fiction of Santiago Ramón y Cajal and the academic research of Geoffrey Hinton.
Besides this main undertaking, I am also working on a number of other smaller research projects. I have an essay on the experimental interface between real-life sports and its videogamic simulation that is forthcoming in an edited collection on FIFA. I also am working on a piece on the saved game state, one on the narrativity of big data, and another on the aesthetics and mechanics of the Meme Economy.
Finally, my research also incorporates critical making practices. Find out more about these projects here.