Insignificant Surfaces explores the creative and theoretical relationships amongst computation, cinema, and sound in my artistic and design practice. I propose an alternative framework for digital practice in which software and cinema are understood not solely as immaterial and informatic, but also as distinctly material, energetic, and embodied forces. Employing my own practice-inclusive research methods of adjacency and lensing, I explore the complex networks of influence that are possible amongst works of art, active viewers, and technological apparatuses. I call for a new mode of open community-based software development, computational materiality, which supports the ongoing, serendipitous, and unexpected creative modification of shared software artefacts. Using the theories of McKenzie Wark, Bruno Latour, Reza Negarestani, and others, and the artwork of Stan Brakhage, Chris Welsby, and Ernie Gehr, I explore the ways in which my cinema and sound can be understood within a framework of energetics, transformational ecologies, and material closure
