In 2012, I made "Maniac," a visual algorithm that encapsulates randomness, replication, stability, and unpredictability. Drawing inspiration from the Delaunay triangulation and its associated Divide and Conquer algorithm, it magnifies computation's implications in the creation of nuclear weapons. This work signified a transformation in my artistic endeavours, transitioning from pure generative abstraction to a fusion of randomness with visual references to the theme at hand.

The title "Maniac" mirrors the iconic MANIAC computer used in calculating the first hydrogen bomb (Ivy Mike, 1952) at Princeton University. With a memory capacity of a mere five kilobytes—equivalent to half a second of iPod audio—it astonishingly epitomised the digital universe's essence in the 1950s. Its capabilities weren't limited to hydrogen bomb calculations; it symbolised a beacon of predictive prowess. Lewis Fry Richardson, in 1930, once hypothesised a mind limited to two ideas, which Alan Turing later interpreted as potential groundwork for what he termed "Mechanical Intelligence," now recognized as Artificial Intelligence (AI).

MANIAC's legacy wasn't just its swift calculations. It altered our perception of time, rendering concepts of memory and art through code as journeys through random events. Through "Maniac," I aimed to underscore computing's transformative power, emphasizing its pivotal role in reshaping post-war history and destiny. Interestingly, while we're aware of the memory capacities in the 1950s, predicting our future technological needs remains elusive.

"Maniac" utilised digital art to elucidate computing's function in warfare. It symbolised computational power vectors, visually articulating the juxtaposition between transcendence and destruction. This artwork was predominantly made of hues of red, confronting viewers with powerful metaphors like "turning into pink mist"—a stark analogy for mortality.

The making process for "Maniac" deviated from solely using generative code in Processing. Prioritising a discernible war reference, the algorithm modified pre-existing graphics with Lee Byron's Mesh library—a Java routine compatible with Processing for implementing triangulation methods. This library facilitates the creation of intricate diagrams, playing a fundamental role in this artwork.

Highlighting another historical figure, Norwegian-Italian mathematical biologist Nils Aall Barricelli's work in 1953 at Princeton is noteworthy. Sharing a computer with von Neumann, Barricelli pioneered code-based biological simulations, specifically using random variables to manifest a universe of self-replication. His objective, as cited by Dyson, was evolutionary—preserving species across numerous generations amidst hereditary shifts. Such random computations have since evolved computers into what we recognise today. Interestingly, the digital age's data replication—creating copies without degradation—challenges traditional evolutionary concepts. This suggests the emergence of a novel evolutionary paradigm, potentially carving out unprecedented life forms and territories.

In essence, "Maniac" reflects on computing's transformative role, from the bygone era of the MANIAC computer to the vast digital cosmos today. Whether it's the potential of new life forms or our evolving relationship with technology, this work remains a testament to the profound impact of computational advancements.

¹ Mathematical and Numerical Integrator and Computer. 
The machine has been rarely referred to as MANIAC in public for different reasons. George Dyson explains that: “Except for a retrospective account presented at Los Alamos in 1976, [Julian] Bigelow never spoke or wrote publicly about the MANIAC again. Even the machine given name was removed. When mathematician Garrett Birkhoff referred to the MANIAC in a paper on numerical hydrodynamics in 1954, he was advised by Herman Goldstine that ‘I don’t believe that the title Maniac is an acceptable one here.’” George Dyson, Turing's Cathedral: the Origins of the Digital Universe, 1st edition, New York: Pantheon Books, 2012. p. 319.