computations

In Computations I shift from recording images to programming them, treating film as a system of instructions rather than a finished object. Using environments like MAX/MSP/Jitter, I would creates works that generate their own durations, sequences, and sound structures, often running indefinitely without repetition.

This approach draws from earlier rule-based practices in conceptual art and music, but extends them through software, where variability, iteration, and versioning become intrinsic to the work itself—there is no single “original,” only continuous emergence.

At its core, the project redefines the ontology of cinema. Instead of linear sequences projected on a single screen, I wanted to develop a computational “instrument” where images function as discrete, atemporal units that can be recombined across multiple windows and temporalities. This opens toward a new form of moving-image installation—polyphonic, spatialized, and generative—where narrative, perception, and time are no longer fixed but fluid, shaped in real time by algorithmic processes.