Now, tech journalism is a fairly predictable beast, all told. My daily routine involves about 50-odd phone calls, the processing of a few hundred words, several trips to the vending machine, a round of sandwiches, hitting the 4 pm wall and then the bus home, usually via a bar on Thursday nights. Last week was a bit different though; I went to see the latest Brian Eno art installation to hit the mean streets of our capital – entitled Luminous, 77 million possibilities – and yes, there was a tech angle thank you very much.

Former Roxy Musician and erstwhile Bowie producer Eno has had his fair share of highs and lows, I won't comment on which category his recent appearance alongside IT Week's very own Madeline Bennett at the BBC's Free Thinking Festival was. Now he's all about the art, or more accurately generative art, which uses computer software to produce combinations of shapes and colours with a near endless number of permutations (hence the title of the show). The space itself is in a dark and dingy room on the Lower Ground floor of Selfridges – art for the masses, innit? – in which one wall is hung with around 30 NEC screens of various sizes, all displaying his constantly changing art and arranged in a kind of cosmic symmetry.

In the end, it was a bit like looking into several kaleidoscopes at once; the screens shone hypnotically, their images segueing gently from some kind of Jackson Pollock-like mess to a spherical thing to a depiction of a woman with her hands over her t**s; and that was just while I was sitting there. And all to the soundtrack of Eno's trademark trancey synth; all chimes and hisses and something that sounded a little like an elderly man humming through an artificial voicebox. Now I'm no art critic…but I can't help but think those giant screens would have served a better purpose a) in my flat, or b) down the pub.