Kim: How would you classify your work? Who or what influences and motivates you- and how might you explain your work and processes to someone that knows little or nothing about media-driven work?

judsoN: In a lot of my work I play with the hype of technology against itself. People who program tend to take technology so seriously, hence their audiences think technology holds some solemn import.

I'm influenced by: Imagining Terry Gilliam-designed robots, using photos by Hannah Hoch and Rodchenko (and) realising George Martin was the genius of the Beatles, and hoping Richard Feynman uses Quantum Mechanics when he plays the bongos.

Kim: When do you think digital or new media will be treated with the sort of reverence reserved for painting, sculpture and the like? Or, can it ever really be treated that way?

judsoN: It is a lot easier to copy a file than fake a masterpiece painting, but the faked masterpiece is nothing new, and even possibly enhances the value of the original. The value, or lack thereof, is still ultimately just a function of what buyers are comfortable with. "Digital" merely means reducing the quality (albeit often still higher than human senses can detect) to make transferring data more efficient. Once widespread copying disrupts the music and film industry, the world will still clamour for musicians and actors. And after that the value of other digital media will follow.

Kim: It's really coming into a new sort of reality. Who would have thought this would be possible even ten years ago? In "Travels in Hyperreality", Umberto Eco talked about this evolution where "absolute unreality is offered as real presence" and that's happening right now. For artists, musicians, and filmmakers the computer now acts as a "mechanism of replacement".

New York seems to have quite a flourishing new media scene. I don't think it's quite as prominent in Vancouver. Do you think some media is better received in certain areas?

judsoN: New York has always traditionally been open-minded in regard to the arts. They will be open to potato chip art when it comes up. I am seeing a lot of interest from Vancouver. In empirical signs of interest in computer art Europe leads the US (particularly in German speaking countries). (I think) Vancouver is not in the top 10 computer art-savvy cities, but easily the top 50.

Kim: On the Plasma Studii website you talk about using other methods of communication to convey an idea (art)- how did this become an interest? And, since you often do public art pieces/ exhibitions- how do you gear your work towards the general public, and children? Do you have examples of past projects?

judsoN: It's mostly involved in my performance pieces. I'd love to know what I could do to make my work more interesting for people with all sorts of physical/mental quirks. I am deaf, so I put little visual clues in while I'm working. Then those clues become part of the development process of the piece, and I don't make any effort to wipe them away. Unless you have a good reason to get an appendectomy, it's probably better in some unforeseeable way just to leave it.

I am particularly interested in making interactive multimedia, to get a visual and interactive cue to translate that sound. I have always found it odd that the "disabled" are seen as a separate group than "normal" people, where every body part seems to work as expected. I don't know any "normal" people. Everybody has varying degrees of abilities and EVERYBODY has obstacles or hardships. Plasma Studii's mission is to say "phooee" on culture, not to make art for one or another disabled group, but to say all these groups don't need their own art. We can all sit in the same room.

With judsoN's words that art can all share a common space, I would suggest to learn more about judsoN's work and Plasma Studii. Experience, learn and appreciate first hand are part of judsoN's philosophies and in closing, believe his work best speaks for his ideology.