Thomas
Alex, I'd like to start by exploring your background and influences. Your practice is deeply rooted in computing and generative systems. What originally drew you to this intersection?
Alex
From an early age, I became interested in decentralized systems, ecology, and cybernetics. During high school, I encountered Gregory Bateson's Steps to an Ecology of Mind, which was particularly influential. His work helped me see everything as interconnected patterns and ecologies of information. Over time, this interest naturally evolved toward computing and coding, allowing me to explore and create generative systems.
Thomas
It's interesting how you're translating systems from organic contexts to computational logic. Is this also what sparked your broader interest in decentralization?
Alex
Definitely. I've always been intrigued by how natural systems exhibit cognition, self-organization, and patterns of complexity. For me, organic systems aren't entirely separate from computational or informational networks. I'm particularly interested in exploring natural patterns and processes through technology.
Thomas
After encountering Bateson, you also reference Guattari's Three Ecologies. How did this later influence or expand your initial interests?
Alex
Soon after discovering Bateson, I came across Guattari and Deleuze. Guattari's creative approach to language, research, and interdisciplinary thinking fascinated me, particularly his concept of the three ecologies - environmental, social, and psychological. His framing of the mind as an ecology was especially compelling, resonating with my interest in cognition, and my Buddhist practice.
Thomas
Did you come to these reflections independently or through your bachelor's program? Also, what motivated you to pursue an MFA at UCLA?
Alex
My interests started somewhat by chance in high school, where I could deeply explore them, leading to graduating with distinction in "The Wild," inspired by Gary Snyder's concept of uncontrolled, undomesticated states. In college, I designed a major called "Decentralization and Ecological Thought," incorporating neuroscience, critical theory, media studies, art, and technology. After graduation, I continued creating art but returned for an MFA at UCLA to refine my practice and create a structured space to develop it further.
Thomas
At what point did you begin experimenting with generative systems and computing?
Alex
Early in high school, initially through generative music. I created software and hardware instruments exploring sonic patterns. Visual and generative systems became more central later, especially after college.
Thomas
Besides music and visuals, has cryptography influenced your generative series?
Alex
Absolutely. Around 2017, I began exploring cryptography. It interested me because it enabled decentralized peer-to-peer interactions without central authority. Cryptography also intrigued me as a medium for expressing complex informational relationships - revealing some information while concealing others, creating layered interactions through mathematics.
Thomas
A core element of generative art is randomness or unpredictability. How do you incorporate randomness, and how do you interact with emergence within your work?
Alex
Randomness keeps the work exciting and unpredictable, providing an element of chance. Emergence, however, is particularly fascinating to me as it isn't entirely random nor deterministic - it follows its own logic. This unpredictability creates a dynamic, collaborative interaction between myself and the generative system.
Thomas
Decentralization and cryptography often carry political and social implications. How do these intersect with ecological and relational themes in your work?
Alex
There's definitely a political dimension, influenced partly by anarchist thought. I'm drawn to systems without rigid hierarchies, contrasting centralized, hierarchical structures prevalent in our society. Creating relational, interdependent systems feels inherently political, offering alternative ways of organizing.
Thomas
Let's discuss specific projects. In June 2021, you released your first generative series, Sigils, on Art Blocks. Why did you choose that platform, and what inspired the project?
Alex
Sigils was my first public release and first NFT project. Cymatics and Chladni patterns fascinated me for their emergent, organic complexity. The name "Sigils" came from imagining the works as animist totems or shrines - living entities situated in diverse ecological settings, reflected in the varied color schemes.
Thomas
Why did you choose 133 editions for Sigils?
Alex
Initially, I planned 222 editions but reduced it to 133 to ensure they would all be collected, triggering interest and active engagement with the project.
Thomas
Later, you created Warp, also on Art Blocks, inspired by weaving. How did your focus shift between these projects?
Alex
After Sigils, I became intrigued by weaving as a fundamental form of computation. I had recently done a weaving residency in Oaxaca, learning traditional loom techniques and natural dyeing. This experience deeply influenced Warp, translating traditional weaving and patterns algorithmically into digital forms.
Thomas
You donated proceeds from Warp to Alianza Arkana. Why choose them?
Alex
Alianza Arkana is indigenous-led and focuses on cultural revitalization and ecological conservation among the Shipibo-Conibo community. Their practice of translating healing songs into woven patterns resonated deeply. Supporting their efforts felt meaningful and aligned perfectly with Warp's themes.
Thomas
Your work often involves translating systems across media. How have audiences responded?
Alex
It's been varied and rich. People often intuitively grasp the ideas - like punch card references in Warp - without needing explicit explanations from me. There were also unexpected market dynamics, like collectors buying multiple pieces, adding an interesting complexity to reception.
Thomas
You collaborated on BeeDAO. What was that about?
Alex
BeeDAO was presented at Documenta 15, a decentralized network of beekeepers across Germany exploring interspecies democracy. I created generative artworks representing membership, giving members visual representations of their participation.
Thomas
You've mentioned "sympoietic futures." Could you clarify this?
Alex
Sympoiesis contrasts with autopoiesis by focusing on relational, co-generative systems instead of self-contained ones. Popularized by Donna Haraway, it emphasizes interconnectedness and collective evolution. Future work for me will continue exploring these interconnected, relational networks.
Thomas
Finally, how do you reconcile ecological themes with the environmental impact of technologies like blockchain and GPUs?
Alex
It's definitely a constant tension. Instead of shying away, I embrace the complexity, engaging with the scale and power of technology, aiming to produce outcomes with a net-positive impact on the planet.