I’m exploring the idea of machines ‘on the edge of consciousness’: “The Machine has made itself, quietly, unnoticed, in a back room...”.  My current project, Salty Bitter Sweet, has gone through several development stages this year.  I use genetic algorithms and machine learning to create poetry and audioscapes.  Candidate poetic fragments are tagged using the Stanford Natural Language Processing Group’s Part-of-Speech Tagger, against ‘model structures’ from Shakespeare’s sonnets.   The raw vocabulary pool comes from the sonnets also, with a few worlds thrown in from the world of computing.  The ‘flavour’ of the poetry is influenced by an incoming webcam stream of piles of junk and rotting organic matter.  Using a neural network (Rebecca Fiebrink’s Wekinator), the machine ‘tastes’ what it is seeing - salty, sweet, bitter, sour and umami - causing the poetry to shift in tone and content as the in-coming stream changes.  This work made its debut at the Lumen Big Reveal / V&A Digital Futures at Hackney House in July, and was developed further for the MA/MFA show at Goldsmiths in September.  In October it grew into a large-scale collaborative installation, featuring a vast heap of decaying electronic waste, for Virtuality Mortality project, with XAP and invited guest artists at Ugly Duck.

On a completely different scale, I am very pleased to have had some of my miniature electro-luminescent process drawings in the exhibition ‘too much as not enough’, which ran at Shtager Gallery until July.  The project follows from Duchamp’s Boîte-en-Valise - his portable miniature monograph - bringing many artists together in one cacophonic suitcase: “is too much the new not enough?”  The exhibition will be touring to other locations during the coming year.