Life is an active upload.
I am an artist-philosopher and creative technologist, critically engaging with media aesthetics, digital transformation, and the politics of social memory. My interests lie in the critical flux between art, technology, and philosophy—where AI, blockchain, AR/VR, the Metaverse, and machine vision are not just tools but contested spaces. Through interventions in digital memory, algorithmic structures, and virtual spaces of power, my work explores digital space as a terrain for counter-narratives, resistance, and critical reconfiguration.
In the 1990s, while studying Media in Vienna, I worked as a freelance creative technologist for companies such as Temmel & Seywald, Pixelwings, and medienhaus + partner, engaging with Austria’s early digital culture and producing some of the country’s first websites, CD-ROMs, and immersive VR experiences of architectures. I was involved in Austria’s first e-commerce project, Austrian Homeshop, and played a key role in taking Lugner City online in 1995, marking one of the earliest digital transformations of a commercial hub.
In 1998, I founded Digital Drafts, a new type of media agency inspired by Mike Smith Studio, London, with the mission of making the artist’s vision possible through technology, and produced many digital projects for the City of Vienna, and Austrian government agencies. My public information terminal system for the City of Vienna received an Austrian National Award for Multimedia and e-Business distinction in the category of Public Information Resources, introducing digital wayfinding and cultural mapping to Austrian audiences.
In the early 2000s, my expertise led to an invitation to MuseumsQuartier Vienna, Austria’s millennium cultural transformation project, as a curator and cultural producer. I worked with critical institutions such as Netbase/t0 – Institute for New Culture Technologies, engaging in tactical media, created exhibitions, event series, and symposia on digital culture, hosted the first European Congress of the Pirate Party, and curated projects on hacker culture, open access, data protection, and the politics of digital infrastructures within the evolving landscape of networked resistance.
Upon completing my postgraduate studies in philosophy, art history, and cultural studies, with a focus on Aby Warburg’s theories of social memory and visual epistemology, I relocated to London in 2008, where I since collaborated with UK digital arts & culture spaces such as Arebyte Gallery, London and Furtherfield Gallery, London, and London-based artists such as Mark Farid, Kimathi Donkor, and Hallidonto. At present, I serve as a Senior Lecturer in Digital Media at Middlesex University, where I have held academic positions since 2010.
I am also a trustee and senior technology advisor at Cybersalon, a London-based digital futures think tank established in 1997, curating regular symposia and experimental events on emerging digital discourses at Newspeak House -The London College of Political Technology in Shoreditch, East London. As a core member of Class Wargames, an English Situationist ludic-science collective, I leverage gameplay as radical praxis to interrogate social memory, subversive historiography, and postcolonial imaginaries.
My longstanding collaboration with the Austrian art-tech collective monochrom further extends my engagement with the subversive and humorous dimensions of hacker culture, playfully interrogating technologies related to automation, everyday life, industrial aesthetics, and body-modification subcultures through involvement in Roböxotica, Vienna’s festival of cocktail robotics, and Arse Elektronika, a festival exploring sex and technology founded and long-running in San Francisco, officially presented as part of Ars Electronica 2023.
Forthcoming works explore embodiment and digital intimacy through speculative aesthetics. Love Is An Open Serial Port translates biosignals into creative expression, while my Art’s Birthday 2025 project in Cyberia XR on Spatial—part of the world’s oldest telecommunications art festival, running since 1973—reimagines the paper hat as a wearable avatar attachment, bridging physical and virtual traditions. Both works blur boundaries between body, technology, and presence, extending an ongoing inquiry into poetic and critical digital mediation.