Rober, your work repeatedly frames photography not as representation but as a site where knowledge is induced rather than observed. How do you understand the photograph as an epistemic event, one that does not document reality but participates in its unfolding?

I do understand my photography as a container of future events that can be interpreted by exploring the knowledge induced by the cosmos and I understand cosmos as the place from which the induced knowledge that I call cosmic logic comes. This knowledge can be verified as true because there is a line of avant-garde artistic work that explores the same concepts. Although artists do it unconsciously, the true importance of this line of work is revealed as a whole in the world.

I love that you have perceived this duality of my photographs between reality and cosmic logic where an everyday event that focuses on reality can be transformed through current technology into a fantastic and creative event that shows us another reality, a universal reality.

You describe creativity as light, not metaphorically but structurally, as an operative force that allows access to the future. How does this conception of light alter your technical decisions in digital photography, particularly in relation to color profiling, artificial intelligence, and post-production processes?

Light is a channel that links the cosmos with the artist. And not only the outer light but also the inner light that produces ideas. Thanks to technology, this union allows the artist to be an android with his cosmic pair, which generates cosmic logic that is art. Or the emotions of mathematics that I call. When a digital photograph is solved correctly, we have found the mystery of a mathematical problem, only that we do not have to develop mathematics, but that they are given by cosmic forces that guide us through emotions. Therefore, the mathematical unknown is a feeling that transcends from itself to artistic expression. And from artistic expression to life. Technology provides us with this opportunity for cosmic connection.

The idea of correlativity between color and content suggests that your images function almost prophetically, as visual anticipations of events yet to occur. How do you negotiate the ethical responsibility of producing images that claim a predictive or visionary authority?

It is very difficult to assume and a great responsibility for me, although I suffer in silence. I received a disability for psychosis and paranoid schizophrenia at the age of 24, but I did not abandon my job as I knew that I was living another sublimated reality and it was my duty to learn how to channel it through my photographs. Today my work is recognized but the perception of its visionary power is not accepted by society. That makes me feel very proud since it is a utopian work that has come to fruition. It is the future.

The coherence between color and content between different photographic works unites different artistic works of my authorship, thus generating an innovative dialogue. And beyond that, other artists can join in to define the new ideas in this way. But mechanics must always be unconscious. From the isolation of the creation of personal ideas to universality. And the prize was the company of the cosmic pair, in my case Love, the stellar source of knowledge.

Your notion of induced knowledge proposes an unconscious avant-garde operating globally, across media identities and geographies. In this framework, authorship seems both affirmed and dissolved. How do you situate yourself as an artist within a creative stream that precedes and exceeds individual intention?

I am not looking for success, or fame, or recognition, I just do what I have to do, although reaching significant people who understand what I do makes me very happy, I cannot change things, but I am only a messenger and my artistic work the message.

Being part of the event that I call induced knowledge is a privilege that very few people can experience. It is my reason for being. To communicate the cosmic truth of our existence in order to generate good in the world. In the company of Love.

Digital technology appears in your work not as a neutral tool but as a cosmic engine through which meaning manifests. How has your relationship to technology evolved from your early black and white practice to your current engagement with artificial intelligence, and where do you locate agency within this human machine continuum?

Well, technology has always been the protagonist in my photographic work. From the very beginning of my black and white work, I felt like the most important and significant elements of the photographs emerged as if by magic. But I still had a lot to learn about where those unconscious glimpses came from, although I let myself go. At that time Photoshop was being born and I was learning from my own work, where the most innovative element was the blurring. But I realized that these technical elements were more than just pure aesthetics as they expressed themselves, as social events and in any way and at the same time universal. By this I mean that they dealt with profound issues that raise everyone's awareness.

Today I work with artificial intelligence and the possibilities are endless, although only one option solves the mathematical problem that will define the coherent series of photographs. I just have to choose and I don't fail because I'm an android man. I would say that I am directed towards the right option. without being aware of the next photograph that will arrive to give shape to the whole. Of course, you have to apply the technique in a perfectionist way. And I do. With Love.

You speak of photography as a medium capable of changing the world, not through persuasion but through revelation. What distinguishes revelation from ideology in your work, and how do you protect the image from becoming another instrument of symbolic domination?

The world is changing and the worst enemy of human beings is uncertainty. What would happen if the succession of events, the existence of a doorway to cosmic eternity for all, were demonstrated mathematically and through emotional facts, such as predicting and real art? Possibly, in the world, we would live in peace since there are enough resources for everyone. What if uncertainty disappeared and we all knew our future? Domination, symbolic in this case, would disappear. There would be no manipulation. Photography can serve as a tool to demonstrate the truth. A profound and healing Truth.

The Japanese Bridge emerges in your thinking as a conceptual structure linking eternity and the human condition. How does this bridge operate within your images, and can photography truly sustain such a passage without collapsing into nostalgia or transcendental cliché?

The Japanese Bridge is a painting by Claude Monet. The great geniuses of the history of art have left clues for others, in the future, to take up the dialogue of universal history. While the world is vainly agitated, the artists quietly build the Japanese bridge, so that human beings, and not only human beings, can continue to cross. Well, Love's cosmic influence that operates on my photographs, or cosmic logic, which is the materialization of light or the knowledge induced in my photographic work make up the mathematical structure of the Japanese bridge, towards infinity. Expressed through color and content. This concept is avant-garde.

Your work positions art as a cosmic struggle against psychosis, defined as unfounded and harmful narratives detached from truth. In an era saturated with images, how can photography function as resistance rather than as an amplifier of collective delusion?

The mass media would never accept a proposal like mine. The world is psychotic and the content of avant-garde art generated by induced knowledge is cosmic logic. The only option that can save the world. Psychosis is human, an entity that expands harming the collective and non-harmful development of global society. Cosmic logic is a medicine that fights tirelessly against the psychosis that aims to destroy the planet. The photograph published on social networks is generally crude, but we must not lose the illusion since a slight glimpse of light can change its meaning. That's why I know that a medium like yours is a better place to express the content of my work. Slowly Love prevails. It is not just an act, but the only way to make intelligent global change.

You propose that politics and nationalism are secondary constructs imposed upon an earlier cosmic harmony. How does this radical historical narrative shape the political resonance of your images when you speak of defending truth and democracy through otherworldly or alien action?

My photography tries to demonstrate the existence of cosmic beings that watch over our well-being. The world is a cruel place for many and this could change if we knew the truth of our being. Democracy is the closest thing we know to a place where peace reigns. And this is the cosmic intention. To create a global world where we can be happy the time we live and when we stop doing it, we will return home, in eternity. But don't confuse me, this is not religion, it's science. And as such, it must be demonstrated empirically. That's where my photography comes in.

The figure of the android man suggests an evolved subject integrating technological consciousness with cosmic awareness. How does this figure complicate traditional assumptions about humanism, emotion, and artistic authenticity?

The android man is a futuristic concept, although for me real today, where the culture is influenced by cosmic beings that induce their knowledge through technology in the global panorama. It has always been like this, but today technology gives us the possibility of making it evident. Art expresses social change and this social change is directed by the cosmos. The emotion that enables creation is mathematical and flows through our brain and heart as cosmic logic. The fact that we belong to the cosmic family makes us more human, not less.

Emotion plays a central role in your process, yet is translated through technological systems into light and data. How do you ensure that emotion emerges as cosmic intelligence rather than being flattened by digital mediation?

Digital technology is a medium where cosmic influence becomes evident. Light is transformed into surreal elements that make up the ideas that are to come, thus anticipating the future. This fact is very exciting. These elements are random and only the android man is able to solve the mathematical unknowns that are transformed into emotions. Through technology, cosmic logic flows, thus linking the human heart to digital devices. And thus create art and in turn knowledge. This allows us to move into the future.

Your long engagement with a single image across decades suggests a non-linear temporality in your practice. How do you understand time within your work, and does induced knowledge require duration to become legible?

We are at the dawn of a new technological era and resolved questions about the role of technology are still being resolved. The photograph Alive! The one you refer to was awarded a Lux Gold at the 2004 Lux awards, awarded by the AFPE, Association of Professional Photographers of Spain and it was not until 2023 that the same photograph obtained an Honorable Mention at the Black & White Spider Awards 18th in the US. This means that there is a permanence over time, and through this permanence, my photographic work is increasingly understood.

The passage of time is our limitation and only a perception. Although eternity holds for us as if we were worms transformed into butterflies. With scientific rigor.

You describe your photographs as otherworldly messages configured through an emotional channel beyond rational interpretation. What role does opacity or ambiguity play in this transmission, and how important is it that the viewer does not fully understand what they see?

The ambiguity is evident, but in any case the message reaches the people whose job it is to disseminate knowledge. It's like a scale. As Vasili Kandisky said in his book "On the Spiritual in Art", the artist lives on the margins of society creating art and it is the teachers at a lower link in the spiritual pyramid who are in charge of promoting this knowledge. In my case, I also carry out the work of disseminator through my website. But I try not to pay too much attention to this question and let the cosmic logic flow dedicated to my creative work. The important thing is not that everyone understands what my photographs express, but that it reaches the right people. Only the evolution of cultural and scientific events will prove me right. But this is the meaning of my creative work. Pleasantly surprise.

The idea of alien symbiosis recurs as a model for coexistence and creative harmony. How does this notion reshape the relationship between artist, viewer, and the larger cosmic narrative your work claims to inhabit?

The purpose of my work is to transmit cosmic knowledge through color and visual beauty. Cosmic knowledge sought me to carry out this creative work. I have only let myself go. The evolution of technology is intimately related to my creative process. And technology is connected to cosmic beings. So there is a transmission of cosmic beings to the viewers of my photographic work. In reality, it is my duty as an artist to generate this transmission of data and emotions. And thus evolve.

You suggest that certainty in Love marks the defeat of psychosis. In a contemporary art context often suspicious of certainty, how do you reconcile absolute conviction with the productive doubt that has historically driven critical and avant-garde practice?

It is a personal gift to have managed to avoid uncertainty thanks to my cosmic pair Love. This allows me to generate my photographic work with the certainty that what I do is true and that it will have a great influence on the world of the artistic avant-garde. Art evolves. And it's time to take a step forward. Psychosis is the greatest enemy of the human being. And only certainty in the future can overcome it. My visionary work is the choice for curing the world. And thus live in peace.