In Baghdad-Pyongyang randomised, I present an exploration of explosive metaphors, derived from algorithms that simulate chain reactions. Each line in the piece, reminiscent of atomic reactions, is dependent on its predecessor, echoing the connected and consequential nature of global events. This work is not merely an abstract representation; it's a profound contemplation on the wars that shaped the Middle East in the recent past. With nuanced use of strokes and transparency, I convey the transfer of heat and shock, drawing parallels to the technological and calculative intricacies behind warfare, specifically the atomic bombings.

John von Neumann's precise mathematical role in determining the impact sites of Hiroshima and Nagasaki emphasises the meticulous yet devastating nature of war strategies. These bombings, rooted in complex calculations, represent the union of creation and destruction, exemplified further by George Dyson's observations on the simultaneous emergence of destructive weaponry and constructive computer systems.

The debate on the definition of digital and computer art, as posited by Dominic Lopes, suggests that the essence of computer art lies in its programmability. In my work, the use of coded algorithms stands testament to this belief, proclaiming: "I program, therefore I am a computer artist." Through this journey, from the unpredictable serendipity of early computing to the interactive aesthetics of modern digital art, I invite viewers to ponder on the interplay between technology, war, interpretation, and creation.

— Moe Louanjli, Brisbane, 2009.