In this selection of work, the exploration of “intelligence” takes on a multifaceted form, expanding beyond the confines of human cognition into a broader inquiry that embraces artificial systems and natural processes. Drawing on a conceptual lineage that includes early investigations into AI, Federico’s works from the late 1990s onward investigate intelligence as an emergent property that manifests across a range of phenomena—from human cognition and artificial algorithms to the inherent organizational logic found in natural systems.
A project like Mnemeg (1999-2002) introduces the idea of intelligence as an active, generative force, where the movements and sounds of the human body directly shape a virtual entity. Here, human interaction is mirrored in a virtual form, emphasizing that intelligence is not merely a trait of human thinking, but an emergent property that arises through interaction, feedback, and environment. In a similar vein, Sembion (2003-2004) transforms speech and its emotional components into visual structures, converting language into abstract form. It emphasizes the translation of intangible human traits—like emotion and linguistic structures—into a code capable of generating visual and spatial experiences. These works suggest that intelligence exists not only in our capacity to communicate but also in the underlying systems—both biological and computational—that govern the formation of meaning.
This exploration of intelligence extends to technological realms with projects like E-Area (1998-2000), which envisioned a speculative smart city long before such concepts became mainstream. By merging digital systems with architectural environments, this work proposed an education center where immersive technologies would expand human perception and cognition, treating intelligence as a collective, experiential process rather than an individual trait. Similarly, Adhesion (2009) and Pulsar (2010) delve into the visualization of formalized energy flows, once again blending the digital with natural systems to reveal how structures of intelligence—whether biological, digital, or environmental—arise from patterns, systems, and interactions.
As the technological sphere evolved, so too did Federico’s investigations into AI. Sakura (2004-2005), through its critical narrative of a fictitious company manipulating human data, interrogates the growing role of corporations in harnessing AI to control and redefine human autonomy. Similarly, Muscoxen (2002-2003), a conceptual project centered around a company trading human emotions, echoes the potential manipulations of AI within social and corporate frameworks. In these works, Federico subtly critiques the intersection of technology, capitalism, and human agency while considering how AI might both extend and endanger our individuality.
Crucially, Federico’s early engagement with AI—a field he has explored since the 1990s—marks him as a pioneer in investigating the implications of artificial systems on human life and thought. While contemporary conversations on AI often focus on the dystopian or utopian potentials of the technology, Federico’s work consistently emphasizes the subtle interplay between human agency, artificial systems, and the natural world. Through works like Big Light (2015-2019) and Boar (2020-2022), he brings these questions into sharper focus, imagining scenarios where artificial intelligence is not an alien force, but one that can align with, learn from, and even enhance natural processes.
In this body of work, intelligence is not a static trait but a dynamic, evolving process that emerges across systems—human, technological, and natural. The works connect deeply to questions of autonomy, control, and symbiosis, urging us to reflect on how intelligence shapes, defines, and is in constant negotiation with our environments.