Rib knitting can be written as a binary code like process between knit or purl stitches. Thus it can be coded system for generating pleating and forms in a material surface. Custom pattern designs are generated through scripts and iterative knitting studies, ribs become more than texture, they act as algorithms of spatial transformation. By programming the simple alternation of knit and purl, the research investigates how rule-based textile structures produce emergent geometrical patterns, surface deformations, and responsive behaviors. These shifting textures form the groundwork for new architectural and design applications, particularly in deployable systems where flexibility and control are interdependent. The work moves between digital and tactile domains, using knitting as a medium to translate computational logic into physical intelligence. Through this ongoing dialogue between code, material, and structure.

This talk explores systemic entanglement and the process of mattering through the audiovisual artwork Poetic Symbiosis. The piece casts slime mold as an “actant” within a relational network forged by biological experimentation and algorithmic interpretation.
Latour’s Actor-Network Theory explains this material-semiotic network, while Barad’s agential realism reframes it as intra-active entanglement. The very processuality of the slime mold’s mattering is co-constituted by “measuring apparatuses” like time-lapse microscopy and algorithmic poetry generators.
The artwork stages a dialogue between reductive machine logic and holistic organismic logic, their synthesis generating systemic entanglement and ongoing emergence. When self-organization interacts within the algorithm, can organic and algorithmic systems achieve symbiotic superposition?

Orbital Oscillation is a kinetic sculpture that explores the phenomenology of time through a deceptively simple act: a glass object rolling in slow, deliberate orbits on a round table. The object’s movement is not self-initiated but subtly actuated by a concealed robotic system beneath the table’s surface. Using real-time sensing and feedback control, the table imperceptibly tilts to inject energy into the glass object’s trajectory, placing the work in the context of perception through Husserl, and a critical engagement with technology through Hui. The work invites reflection on how machine intelligence can shape perception without revealing its own presence.

In this five-minute presentation, Jennifer Parker and José Carlos Espinel share Transformaciones: arte, ecología y tecnología, an experimental collaboration where artificial intelligence shapes algae patterns into designs for blown glass. From these AI-generated images, molten silica takes form through the artist’s breath, merging digital and biological intelligence in a single act of making. Silica itself has an ancient lineage: microscopic algae called diatoms once built glass shells from dissolved silica, leaving behind deposits that now sustain glassmaking industries. Each breath that inflates molten glass carries this history—a dialogue between the human lung and the planetary archive. Through this process, the artists reveal the entanglement of creativity and extraction,the burn of furnaces, the hum of servers, the cost of transformation. Transformaciones offers a poetics of air, showing how breath, mineral, and machine intertwine within the fragile reciprocity of living systems.

In this talk I unfold the quest for defining Quantum-computing Aided Composition (QAC), informed by practice-based research, and engaging computational processes with the immateriality of digital media.

Gaze to the Stars is an AI-mediated participatory public art installation that transforms the MIT Great Dome into a platform for collective emotional storytelling. 200 Participants engage in reflective conversations with a large language model, their responses encoded as Braille into their iris videos and projected onto the Dome. Using affective narrative embedding, iris segmentation, and emotional clustering, the project visualizes both shared and personal affect. Through Gaze to the Stars, we frame AI not as a tool for efficiency, but as a companion—inviting self-reflection and fostering civic empathy within public space.

This talk is about Critical Matter in a broader scope where we explores the emotional, cultural, and social dimensions of material systems. Through interdisciplinary research at the intersection of design, technology, and critical theory, Critical Matter investigates how matter can become a medium for expression and critical transformation.

Togetherness reimagines online hate speech as a multisensory experience, blending linguistic analysis, sound, and visuals to transform toxicity into harmony. Inspired by Daniel Kahneman’s theories on the second self, it transcends traditional art and science, creating immersive, evolving narratives that explore emotional resonance and ethical consciousness. Togetherness redefines language as a bridge, not a barrier, merging human and algorithmic creativity to envision a future of collective transformation and inner growth. During the S+T+ARTS AIR residency with Sony CSL Rome, Filippo Gregoretti has crafted a universe where music, visual art, algorithms, and technology converge, leveraging his living algorithms to expand human expression. The artwork transforms in real-time semantics into extended audiovisual experiences, using a generative artificial artist to interpret text from the infosphere, encouraging the perception of the “emotional resonance” behind our words.

From the first texts, to libraries, and now the Web, we have invented ever larger stores of knowledge; as they grew, it has been the increasingly sophisticated way-finding technologies–from indices and card catalogs to algorithmic search engines–that made this knowledge accessible. Large language Models are the next stage in this evolution. Unlike search engines, they do not simply index information, but digest it, making new wholes from innumerable parts.

However, our imagination about the extraordinary potential of LLMs–of the algorithmic analysis and digestion of all extant knowledge–has been constrained by the goal of creating an artificial mind, which has shaped the development of computational knowledge production, but is a fundamentally deceptive framework that rewards clever manipulation of human social perception.

“Reified Generative Epistemics” is a series of sketches and designs that explore the question of what should an interface to this vast organ of computationally metabolized information look like.