My research centres on the Aesthetics of Dysfunction in Virtual Agglomerations. Since a significant part of the artistic work is developed through interaction with machines—via data, algorithms, and programming—it becomes essential to examine the semantic limits within the creative process. The objective is not to produce any image with visual appeal, but rather to consistently question the boundaries between function and dysfunction, particularly in the contexts of mapping, navigation, speed, interaction, and war.

The central challenge is not the creation of abstract content in itself, but rather achieving a certain degree of simplification that ensures the work retains its artistic significance. In this regard, Nelson Goodman's (1968) foundational analysis, which is often seen as having a natural connection to computing, proved valuable in linking the research to theories of symbols and languages. By considering algorithms as a form of language—and drawing on the expression of Gilles Deleuze and Félix Guattari—the critique of a purely formal view of algorithms is not that they are abstract, but rather that they are not abstract enough.

The thesis, Aesthetics of Dysfunction: On Virtual Agglomerations and the Creative Errancies of Code, examines the implications of the widespread presence of code in contemporary digital life. It is the outcome of four years of research combining programming, theoretical inquiry, and studio-based software practice to address the question: How can the algorithmic medium of programming and software reveal the role played by code and its dysfunctions in shaping the new universe of virtual agglomerations?

The project is structured around three main components:

1. An interrogation of code as a creative medium;

2. An exploration of the techno-social conditions surrounding the use of computers in art;

3. An analysis of software's capacity to metaphorically and physically conquer space, functioning as a tool of war.

Developed through sustained experimentation with the Processing programming language, algorithms, software, military aerial imagery, and mathematical functions, the studio practice investigates the limits of software error. It reflects on how machines act as both generators and regulators of digital realities—constructed as virtual territories shaped by microprocessors, memory, speed, and malfunction.

*Goodman, N. (1968). Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Bobbs-Merrill.