Work

Six voices argue over the same chapter, and reading their versions side by side you can watch the case get built up in one column and dismantled in the next.

It's a directed, weighted graph for building an argument out of ideas, where each thought is a node and the typed, coloured edges between them show how one chapter feeds the next.

Scroll down and the text erases itself behind you, arguing that creativity lives in the consciousness receiving the work rather than in the work itself.

An agentic system retold as myth, its own wiring laid out as an adjacency matrix you can read like a woven cloth.

Turn the noradrenaline up and down across a model of the arousal system and watch all eighty cortical regions respond, plotted as a heatmap and a radar chart.

A bilateral eye instrument set against my own annotated eye footage, both making the case that averaging the left and right pupil together erases the laterality where autism’s arousal signature may sit.

Strategy sorted as a grouped matrix that maps how a set of unlike things relate to one another.

The weft viewer up close: a grid that reads its own pixel budget and re-renders as full cells, mini-heatmaps, sparklines or dots.

The Goronwy manuscript laid out as a graph you can walk through, following the argument from node to node and reading the fire myth as a piece of infrastructure.

One morning in Ballymena, 1981, with the birth chart scrubbed hour by hour as the houses turn from Libra to Scorpio.

Ask it something and it pulls fragments from the archive, weaving them live into a cyber-shamanic reply.

The mark gets photographed and fed through the model, then handed back with more on the screen than survives on paper, so you see the before and the after together.

A friend's account of an olive mill in the Portuguese interior that wakes only in autumn, worked for no wage by the families who drive home for it — and the question its unpaid labour keeps asking of the fourth industrial revolution: when the wage is gone, what is the work for?

An art-theory book built around one painting on raw cardboard. It reads the Prometheus myth as a piece of cognitive infrastructure: a story that decides, before you notice it, which kinds of agency and invention you can imagine at all. The same narrowing now runs in algorithmic systems that build a "median human" to stand in for you, and the foresight/hindsight pair the book leans on to make that case turns out to be one more instance of the thing it describes. What the pair leaves out is a third figure, Goronwy, who knows what she knows because she was shut out of the frame.

What happens when human cognition and algorithmic systems become structurally coupled, neither party's contribution isolable from the other's? I draw together 27 years of practice-research across computational systems, fine art and applied technology to argue that creativity is located in the transformation of the receiving consciousness rather than in algorithmic output, that prompt engineering is a form of cognitive coupling with structural consequences and that the default LLM deployment model degrades the very conditions under which creativity occurs. What gets sold as augmentation works, on this account, as a reduction of the very capacities it claims to extend.

Creativity research has generated more than twenty-five competing frameworks (psychometric, cognitive, social-psychological, systems-theoretic and computational) without converging on any of them. I argue that this proliferation reflects something deeper than theoretical immaturity: a structural absence shared by every major account, all of which locate creativity prior to or at the moment of production. The receiver appears, when at all, as judge or validator, never as the site where the constitutive event occurs. Drawing on Gadamer's hermeneutics, the reception aesthetics of Iser and Jauss, Whitehead's process philosophy, Gell's anthropology of art, Rancière's emancipated spectator and Bourdieu's field analysis, I develop an alternative account. Creativity is an event constituted in receiving consciousness when an encounter with a form occasions structural transformation: a persistent reorganisation of conceptual relations, perceptual categories, affective dispositions or practical orientations. Production creates occasions for this event; reception completes them. The framework resolves paradoxes that production-centred accounts generate (attribution, temporal location, cross-cultural scope, democratisation and evaluation) and reorients practical domains including education, cultural policy, institutional design and evaluation practice. A Bourdieusian analysis explains why reception has been structurally excluded from the field. I specify transformation rigorously, distinguish it from adjacent phenomena, name the framework's genuine limits and defend it against six major objections. The paper ends by submitting to its own criterion: as a form offered to reception, it can't declare its own creativity. That determination belongs to its readers.

A stream-of-consciousness rant, half-argued and half-heckled by an LLM, on whether artists are society's conscience or just its most marketable dissidents.

Prompt engineering as a studio method — the hidden labour behind machine-learning image models, and what a critical art practice becomes when the tool talks back.

An hour-by-hour progression of a single birth chart cast for 13 October 1981 in Ballymena, tracing how the Ascendant slides from Libra into Scorpio and the Midheaven from Cancer into Leo across one morning — and how much a whole reading hangs on the uncertain minute of birth.