Blackbox flowchart
Blackbox (n.), in Hole Black Hole Catalog, 2019.

Selected bibliography:
“John Cage and Lejaren A. Hiller Jr., HPSCHD,” is included in the Coded: Art Enters the Computer Age, 1952-1982 exhibition catalog, accompanying the “Coded” exhibition at LACMA from February to July, 2023.
“Deep Listening: Early Computational Composition and its Influence on Algorithmic Aesthetics,” 43-50, Conference proceedings, RE:SOUND, the 8th International Conference for Histories of Media Arts 2019, Aalborg, Denmark, August 2019, doi: 10.14236/ewic/RESOUND19.7.
Blackbox (n.), in Hole Black Hole Catalog, Flatland, 2019,”

These diagramatic passages use software flowchart methods and aesthetics to explore the effects that the term “blackbox” as metaphor/software/theory have on knowledge generation. What would a “cult of the black box” look like, or are we already unwitting members? Included in the Hole Black Hole Catalog, produced by Flatland, Chicago.
“From Wetware to Tilt Brush, How Artists Tested the Limits of Technology in the 2010s,” Alex Estorick, with Cécile B. Evans, Jenna Sutela, Jonathan Yeo, Tiffany Funk, Luba Elliott, Anna Ridler, Frieze, December 18, 2019.
“A Musical Suite Composed by an Electronic Brain: Reexamining the Illiac Suite and the Legacy of Lejaren A. Hiller Jr,” Leonardo Music Journal, Volume 28 (December 2018).

In 1956, Lejaren A. Hiller, Jr., and Leonard Isaacson debuted the Illiac Suite, the first score composed with a computer. Its reception anticipated Hiller’s embattled career as an experimental composer. Though the Suite is an influential work of modern electronic music, Hiller’s accomplishment in computational experimentation is above all an impressive feat of postwar conceptual performance art. A reexamination of theoretical and methodological processes resulting in the Illiac Suite reveals a conceptual and performative emphasis reflecting larger trends in the experimental visual arts of the 1950s and 1960s, illuminating his eventual collaborations with John Cage and establishing his legacy in digital art practices.
The Chapter “Dirty your Media: Artists’ Experiments in Bio-Sovereignty” is available in The Aesthetics of Necropolitics, a volume edited by Natasha Lushetich. It is part of the series Experiments/On the Political, published by Rowman and Littlefield International.