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I teach and research software as a culture and a means of expression (aka “software studies”) and I have a special interest in the increased role of computer interfaces in our culture and society – both the ones that we see and touch everyday, and the ones that we don’t (aka “interface criticism”). Topics I deal with range from e-readers, digital/hybrid publishing, video conferencing, gaming, design, smart cites, cloud computing, platforms, data/algorithms, and much more. But the perspective never changes: my ambition is to bring the knowledge and practices found in the underbelly of digital culture and art to the fore.

I believe that digital art and activism (net art, software art, critical making, creative coding, electronic literature, and other critical technical practices) may help us understand how software (including its various interfaces and infrastructures) sustains and automatizes processes of both labor and cultural activities. Algorithms and computation may influence anything from the work-place, self-driving cars to the ways images, text, movies, music/sound, games and much more are produced, distributed and consumed. We create software in the image of how we imagine these processes, but at the same time software also affects the ways these processes take place. Digital art and activism provides a perspective on the unintended glitches, the transformations that lead to conflicts or repressions, as well as on the new and innovative excess energies of software and networks.