‘A night aboard the Sun Machine’ by Leoni Fischer
The Sun Machine Is Coming Down! So reads the prophetic call filling my DM’s in a sudden gush. Over the last months, few messages spread…
Computing Art, Contributors, Op & Ed
‘Post-Genius Memes: Copyright, Consent, Distributed Authorship and NFTs’ by Ameera Kawash
In a well-known scene from It’s never sunny in Philadelphia (2016), Danny Devito plays Ongo Gablogian, an “aht” collector that sashays around a gallery verbally…
‘Gusztáv Hámos & Katja Pratschke, explorations of consciousness & its intersection with cinema’ by Anne Murray
The video work Seil (Rope, 27’30“, 2016) [1] grabs my attention from the back of the gallery as I enter. I am drawn towards the…
‘Amy Sands’ “Lace Reimagined”, how to create lace patterns from digitised images’ by Anne Murray
In these turbulent times, Amy Sands’ paper and transparent acrylic works, along with her Bobbin Lace Fence Project – Projection Mapping, bring a sense of…
‘Éva Mayer: Terra Incognita, Ani Molnár Gallery, Budapest’ by Anne Murray
Éva Mayer’s exhibition at Ani Molnár Gallery in Budapest, curated by Lili Boros, delves into the limbic space of fertility, hope, and loss and its…
‘Dialogues between the sound, visual and digital-performative arts in Eufònic Urbà at Centre d’Arts Santa Mónica’ by Nicholas Burman
In the heavily automated, networked “internet of things” future we’re unevenly rattling towards, there’ll be an increasing amount of discussion about interaction and interfaces. Actor–network…
Contributors, Digital Culture, Op & Ed
‘Kid Xanthrax, on the immanence of digital anti-aesthetics’, a visual interview with Griffin Martell
The pseudonymous digital art provocateur Kid Xanthrax exists at the periphery of cyberculture, invoking irreverence for commercial, fine art “practice” through grotesque, “dank” meme aesthetics…
Contributors, Op & Ed, Robotics & Kinetics
‘When sculpture transcends form, a view on new media artist collective BREAKFAST’, by Silvia Iacovcich
For the new media artist collective BREAKFAST, the past three years have been an exciting sequence of projects blossoming worldwide. The collective boasts an extensive…
‘Posthuman Island: the story of a whistleblower’s cry for help’ by Cultural Policy
This research is a collaboration between artists from the USA, Ukraine, South Korea, England, and Germany. The show includes the work of BIPOC, non-binary and…
‘How motion graphic designers bridge the gap between what is real and what is fiction’ by Maren Häußermann
The pendulums swing back and forth in an endless movement. All three pass in perfect adjustment through holes in a hollow cylindrical form that moves…
‘Zsolt Asztalos, Memory: an Act or Construction?’, by Anne Murray
Memories are constructions. We build them out of fragmented details. These details can be found in different parts of the brain; in accordance with our…
‘HERTZ AND HEALTH, when the world resonates and heals itself?’ by Silvia Iacovcich
We have certainly heard it many times, from our yoga teachers, our holistic doctors, and various unofficial and scientifically tenuous channels. But does music really…
Graveyard Tree Theatre, an ecoperformative rehearsal seance by Piotr Bokowski
In the dawn of the past winter solstice, as London was just collapsing into the third lockdown, I decided to indulge in my weekly routine…
Tutto Questo Sentire’s ‘Exercises on Displacement’, a year in retrospective by Elaine Tam
To drive is not just to be at the wheel of a car, helm of a ship, conductor- or directorship, but also the inner force…
‘Theophany’ by Disinformation – the world’s shortest sound installation – time, space, audio convolution and museology discussed by Joe Banks
“Architecture in general is frozen music” – Friedrich von Schelling The Theophany sound installation by artist project Disinformation is a work of electromagnetic sound art,…
‘BFI’s London Film Festival Expanded: The Day After’ by Nicholas Burman
The 2020 edition of BFI’s London Film Festival presented the institution with two challenges: how to have a festival in the age of social distancing,…
AI & A.Life, Contributors, Op & Ed
‘Phreaking Hotline: Aliza Shvarts’ by Charlotte Kent
Phreaking started in the 1950s and was slang for exploring and messing with the telecommunication system. Some curious users dialed around, learning how the phone…
‘Mark Mothersbaugh and Beatie Wolfe’s Postcards for Democracy’ by Charlotte Kent
Some argue mail art waned in the 1990s when the internet provided an alternate collaborative space, suggesting it is a kind of proto-net art [1]….
AI & A.Life, Contributors, Op & Ed
‘AI Am I? Yeah, We Are. Alexander Reben and the Machine’ by Charlotte Kent
“The creativity of culture has no outcome, no conclusion. It does not result in art works, artifacts, products. Creativity is a continuity that engenders itself…
‘Spellbound’ by Disinformation – ‘An Allegorical Portrait of J. Robert Oppenheimer’ discussed by Joe Banks
“The effects could well be called unprecedented, magnificent, beautiful, stupendous, and terrifying. No man-made phenomenon of such tremendous power had ever occurred before. The lighting…