Ontology

A three-year research project and hybrid tool for dynamic knowledge. I launched it in summer 2026 at the University of Florida. Intelligence is treated as a relational event across bodies, tools, and environments.

A lecture-performance, installation, and workshop platform, 2024–2029. Voice, movement, storytelling, and generative AI co-compose thinking in real time.

A procedural ecology I have been developing since 1997. Performances, installations, and lecture-experiments in which cognition is distributed across bodies, codes, and environments.

Interactive performances I programmed mostly in Max/MSP/Jitter. Improvisational dance, interactivity, and real-time processing.

A residency and installation I initiated with María Luisa Angulo during Beyond Gravity at Theater im Depot, Dortmund, October 2025. A synthetic media space.

A rave, Techno-republics and Other Vectors, at Theater im Depot, Dortmund, October 2025. AI-generated songs and videos, reactive light, and fog.

An installation. I presented the prototype in January 2026 at Afrofuturism Week, produced by CAME at the Cade. A version with an open-source language model premieres at the Cade Museum in April 2027.

Single-channel interactive videos. Placed together in a room, as an assembly, they are what I call a stable landscape.

A single-channel video installation. Ten time travelers from the future, each seeking to date someone from our present or their past. Imagery and text made in the app Proteus.

I facilitated the last two Choreographic Coding Labs in the UK, invited by Aoi Nakamura and Esteban Lecoq of A+E Lab: Chatham, March 2025, and the Royal Ballet and Opera, 2026.

A series of minimal apps I have been making since October 2025. Gesture, face, real-time voice, and text, with language models used as material and drawn as form in the browser.

Begun in October 2026. Thematic Apperception and Rorschach images given to language and video models, in dialogue with research on model introspection.

Duet in Latent Space. I developed it during a residency at Lake Studios Berlin in February 2024, on cultural loss, diaspora, and Venezuelan heritage.

Writings, press, media, and publications, including the Hybrid Intelligences essays and the BBWCXR catalog.

A dance research and residency center. I am a founding member. I designed how the residencies work, and I continue as researcher in residence.

I teach Algorithmic Creativity and AI, Art, and Society, asynchronous courses in the AI and the Arts Certificate at the College of the Arts.

In 2007 I started dance-tech.net, a social network for dance and movement working with digital technologies, and later movimiento.org. More than 200 video interviews.

A single-channel interactive video. Image, sound, and automation, performed by hand or given over to the system.

An interactive video and generative installation that unfolds as an ASMR song. Every session makes a different visual composition.

A satirical AI-generated anthem about fragile masculinity, grievance politics, and the performance of nationalism.

AI-generated video after Richard Brautigan’s 1967 poem, seen again through algorithmic surveillance. December 2024.

A dark anthem of conquest I led with María Luisa Angulo. It reimagines the Valladolid Debate as a techno-oratorio.

An interactive audiovisual installation and performance system. A corrupted liturgy of ritual, code, sound, and moving image.

An uncertain, speculative Umwelt of a language model. Pendulums write the model’s text along their paths.

An installation in which a large language model is used as a speculative theory of synthetic meaning.

An experimental generative system. A machine for synthetic expression.

Text, voice, and gesture in one system, shaping images as they are made.

An epistemic exercise in a hybrid human–model exchange.

A microstory by Luis Felipe Lomelí generates an endless dialogue.

A collaborative project with María Luisa Angulo through Pangea Inteligencia Artificial, a decolonial and planetary extension of UnstableLandscapes.

An augmented-reality app I made for Festival Panorama de Dança in Rio de Janeiro in 2012.

A project on what network environments can do for the transmission of embodied knowledge. The 2013 pilot, Minded Motion Lab, was held with Bates Dance Festival.

A network I co-founded in 2011, in Spanish and Portuguese, from dance-tech.net, with the South American Network of Dance.

The unseeable field in which machine learning makes meaning. In the work it is also a poetic terrain for memory, resistance, and planetary futurities.

After N. Katherine Hayles: a web of interdependent cognitive systems, human and nonhuman, in which cognition emerges from relations rather than from a single mind.

Mind as a world-involving process. A living body is already a nested ecology of nerves, memory, culture, tools, rooms, and other bodies.

Computational creativity treated as a material. Language models and self-organizing processes become aesthetic agents, not only tools.

AI-generated scripts, poetic scores, and distorted prompts used as provocations. They open space for improvisation, ambiguity, and embodied interpretation.

Performance-lectures, games, and game-like structures used as sites where cognition becomes participatory, unstable, and playful.

The name I use for an assembly of the interactive generative videos placed together in a room. Distinct from the project UnstableLandscapes.

One of the frameworks of the work, with techno-intimacy, cybernetic feedback, migration, and diasporic memory.

Memory, migration, and displacement as material. The Global South imagines otherwise without asking permission.

AI used not to predict the future but to liberate it. Speculative theory as compass and choreography against extractivist and disembodied optimization.

Systems that evolve through local interactions rather than centralized control, drawn from biological ecologies and from Varela and Maturana.

Machine imagination treated as a living speculative zone. Models hallucinate, fail, glitch, and speculate. Their outputs are provisional fragments.

Śūnyatā, from Buddhist practice, used as epistemic clearing: the work stays open, decentered, and without a fixed point of authority.

Works are published under open-source licenses as epistemic sharing and community care. Code on GitHub is released under the MIT License.

Since August 2024 I have been Maker in Residence at CAME, University of Florida, focusing on AI, art, and diasporas.

The certificate in which I teach Algorithmic Creativity and AI, Art, and Society, offered by the College of the Arts.

The Beyond Gravity / Decolonizing the Digital residency at Theater im Depot in Dortmund, awarded in 2025.

The Cade Museum for Creativity and Invention in Gainesville. Site of the Tangerine Dreams prototype in January 2026 and the April 2027 premiere.

The social network I launched in 2007 for interdisciplinary explorers of performance and emergent practices.

Submerge: getting into the work, vol. 7, at Lake Studios Berlin, summer 2025. Born in Latent Space was presented there.

A residency for Berlin artists, 8–22 November 2026, which I co-facilitate with Mark Coniglio at Lake Studios Berlin.

A supporter of dance-tech.net and the Choreographic Coding Lab. The Forsythe Company is part of that history.