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Broken Wave is a "data toy." It generates both sound and visuals based on a complex sign wave function that can be modulated and manipulated by the user using mouse gestures.

Ever since the enclosing of the commons, there seems to have been a tendency for all grouped uses of space to reenact that tragedy on a petty scale. We have so well unlearned the communal use of space, that it is practically inconceivable; its laws and its rights are lost.

If life were a game, what game would it be? … It must be either war or race; in either case, it is a contest. The abstract field of contest is a schematic representation of the territory beneath our feet: a map of the world. It is at once a field of combat as an un-owned commons, and the territorialized space of land as possession, with all places and possible positions marked out. Against this grid the move is made; the move is measured. The pieces find their places.

Observe that even without a grid, the rooms you now inhabit are partitioned and assigned specific uses. How have these been determined and allotted? How is that one corner has become the territory of a certain artist, and one wall, the domain of another?

This game models the self-amending rule set that is the basis of the American legal system. Suber, a logician, was interested in the paradoxes that arise in a system where logical contradictions inside of a self-amending rule set cannot be straightforwardly resolved.

There is an unfortunate sense of naturalness in the use of the screen as the main output device for computational experiments.

Entering a space makes us subject to its rules; the door divides our attention between a self-conscious appraisal of our conformity to law, and a referencing of the room's markers of convention with our internalized archive of applicable statute.

The ideology of individualism requires the maintenance of some semblance of interpersonal difference. The horror produced by the idea of cloning, or the imagined forced conformity of communist society, is surely tied to a certain attachment to the idea of difference.

The rule exists as a social given, like language, that precedes our presence and conditions our participation as the horizon of social legibility.

There is a new archive of photography, and the photograph itself is changed.

Individual frames from the "infinite fuck" portion of the "Christopher Marcom Being Dead, Alan Turing Contemplates Emptiness As He Encounters A Series Of Boys Thus Arriving At The Possibility Of Computation" are arrayed on a grid

Thus Arriving At The Possibility Of Computation. The invention of the computer is traced to what came to be called the Turing Machine after the author of the 1936 paper “On Computable Numbers, With an Application to the Entscheidungsproblem” in which it was proposed.

In modeling the game Chutes and Ladders on a computer, we gain insight into the nature of both games and computation. The computer version, unlike the rule bound cardboard version, is unfixed, thus allowing for the displacement of a moral overlay by a free play of algorithmic patterning.

Pornocopia imagines pornography as a machine, a system, a software, an algorithm: a device for the multiplication of desire or for the production of desire’s contagion. It is structured as 10 software mechanisms, which play out a sequence of state changes within a single minute while containing a series of porn images.

A culmination of the work with harmonographs, this piece incorporates a sound track which was constructed using techniques analogous to the curves, and a voice-over which makes links between the abstract forms and social, sexual, and computational concepts. It is the first step in a narrativizing thrust of the work.