Gretta Louw writes about Guido Segni’s 'A quiet desert failure', an ongoing algorithmic performance in which a custom bot traverses the datascape of Google Maps in order to fill a Tumblr blog and its datacenters with a remapped representation of the Sahara Desert.
Bidhan Jacobs writes about the website I Love You (2004) by french artist Jacques Perconte, restored on November 1st 2015 for "(In)exactitude in Science" as part of The Wrong (Again) - New Digital Art Biennale.
Nicole Sansone reviews Brout and Marion’s artworks featured in the ‘The Human Face of Cryptoeconomies’ exhibition, and talks with them about their work and ideas around value and objects—or more precisely, how objects are inscribed (and sometimes not) into an idea of what is valuable.
Marc Garrett interviews media artist Stanza and asks what inspires him, personally, artistically and culturally. He's an internationally recognised artist who has exhibited worldwide since 1984, and shown over 50 exhibitions globally, and is an expert in arts and technology, CCTV, online networks, touch screens, environmental sensors, and interaction.
The negotiation of the commons takes place in two distinct realms that are increasingly reaching into and shaping one another: the long history of the landscape commons both in cities and in the countryside, and across digital networks. In this conversation Ruth Catlow and Tim Waterman discuss the ‘Reading the Commons’ project together with Furtherfield’s work on understanding the commons.
An appreciation of David Daniels, the great shape-poet, who died in May 2008. one of those figures who straddles the divide between digital and pre-digital art and literature. His art is about liberation, uninhibited outpouring, spontaneity and fun. Co-published by Furtherfield and The Hyperliterature Exchange.
From Vooks to ebooks, from the iPad to the Google settlement, and from print-on-demand to new styles of writing, Edward Picot attempts to analyse the effects of the digital revolution on the publishing industry, and to make some educated guesses about how things may develop in the next few years.
In Part Four of his series on classic Videogames and their appropriation into contemporary art. Mathias Jansson explores Pac-Man, with a selection of examples of how the game has impacted artists' work and contemporary art culture.
The New Aesthetic is a new art meme, originally defined by James Bridle as a method of collecting materials which point towards an infatuation with the agency of computing. Although it has existed in it's current form since last year, it's sudden emergence has set off plenty of scholars, writers and artists into profuse flusters. But here's the question - can the new aesthetic be more than a meme? More to the point, does it want to be? Is it capable of a direction?
What if Turing's centenary was not just a way of recapitulating or celebrating the discoveries of his legacy, but a rare chance for unearthing some surprises within Turing's own constructions which reveal new ways of approaching the agency of computation? Robert Jackson reflects on how the humanities and the arts could reclaim the unpredictable elements of Turing's legacy which other fields seemingly ignore.
A day-long workshop, led by independent curators and researchers Dani Admiss and Cecilia Wee, looking at how we are locked-into contemporary conditions that bring migration into being. LAB #4 in the Art Data Money series.
The Human Face of Cryptoeconomies steps beyond dry, incomprehensible analysis of finance structures and data control to present artworks that reveal how we might produce, exchange and value things differently together in the age of the blockchain.
A weekend workshop, led by The London School of Financial Arts, exploring different approaches to unveiling the financial sector - from open data mapping and photography to computer games and digital art installation pieces. As part of Art Data Money.
Recognised Faces is an internet application that generates a daily image of a face from images found via google’s lists of top search terms. Facial features in the found images are identified, using...
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