Introduction

I'm a Hamburg-based independent open source software developer tortured artist and creative technologist mostly eukaryotic multicellular form of life operating at the intersection of language, systems thinking, and written as well as visual art.

In technology, I specialise in crafting high-quality software for UNIX and Windows platforms, with a focus on aesthetic engineering - creating expressive code and technical documentation that is as readable and composable as a well-woven poem. I take a failure-oriented approach in engineering, designing systems with primary consideration for how and when they fail as well as how to adequately address failure. I am equally open to exploring novel pathways and perspectives, particularly those that expand our modes of expression and induce the epistemic collapse of questions in need of unasking. I highly value methodical and structural approaches grounded in sound notions as well as calling the same into question when it is contradicted by empirical evidence, no matter how conventionally established the former or poor in data quality the latter may be.

I have contributed to a number of open source projects and continue to maintain a GitHub. My Curriculum Vitae is available on this website both as a PDF and as a LaTeX source file.

I have a passionate, lifelong interest in languages, nurtured by the multilingual and multicultural environment that I grew up in, beginning with my native Spanish (Chilean/Andalusian dialect) and German (Northern Germany/ Hamburg dialect) as well as English (British English) at CEFR level C1 according to personal judgment and, as a classical language, Classical Arabic and a smattering of dialects of Spoken Arabic, garnished with undertones of Akkadian and Persian.

In creativity, I am drawn to weaving higher-order patterns from matters of little in the way of connection and often much in the way of contradiction, applying my tools of the trade of negation and dissociation to draw from the fields of the treasury of the unseen, from Old Mesopotamia, Classical Arabic literature, mysticism, magical realism to gender identity, non-dualism, kade, neutrinos, clinical psychology and psychiatry, and the indelibly indelicate flavour of my puzzlingly continuing existence. In literature, I greatly prefer the expression and exploration of subjectivity of experience over the mere replication of ostensible objectivity, often in the garb of an unwaveringly resolute reality that by the threshold of the merest insignificance unveils a world unseen, wherein liberation is obtained from the coexistence, not contradiction, of opposites, if one should find oneself willing to abandon undue attachment and become extinguished like a silent flame within the Pale. Oftentimes, that which cannot be named has greater importance than what can be and that merely naming a thing may destroy that very thing.

I have a general interest in systems and dynamic processes that, much like the stillness of a garden perturbed by the gradients and curves of Classical Persian music, unfold with dazzling dimensionality, laden with recurrent loops which bear state networks distributed in captivating patterns, especially those found in biology in general and endocrinology in particular as well as whatever a long walk or indulging in a film or musical fragment 6 seconds in duration may yield when serving as the means of phenomenological archaeology.

In music, I am fascinated by musical pieces that express non-linear motion - travel without moving - through recurrent temporal geometry: feeding overlapping and desynchronised, yet continually attracting, converging, and dissociating, mutually interacting systems back into themselves, generating self-modulation that induces phase shifts towards patterns of ever-escalating complexity, all while unfolding with profound narrative structure. The rare instances of such music, be it the alternate version of Somewhere in Space by Sun Ra with Art Jenkins playing his inverted ram's horn, the Jazzpunk Theme, Lai Se by Fela Kuti and His Koola Lobitos, or Classical Persian Music, like the 2nd part of the Gerāyeli of Dastgāh-e-Šūr, the Lezgī in the Zarbīhā of Dastgāh-e-Čāhārgāh, and the Reng-e-Nastārī of Dastgāh-e-Navā. These may very well, as far as I am concerned, constitute the auditory expression of proteins folding into an ordered 3-dimensional structure through a mesmerising quantity of mutual interactions from a humble string of amino acids or the very sound of the Pale itself that may only be heard when one ceases to hear. Music emerges from the emptiness between notes.

A selection of my short stories and poems and Arabic poetry translations as well as digital art and a cache of documents on experimental transfeminine endocrinology are available on this website, as is a ranked list of films and series that I've watched and, inter alia, lethal food recipes.