Marc Garrett interviews Lynn Hershman Leeson artist and filmmaker, who over the last three decades has been pioneering the use of new technologies, her investigations of issues are now recognized as key to the workings of our society.
Erik Zepka considers the interface of science fiction ideas and experiential realism in contemporary internet cultural practice. As part of art production shifts towards online networks of makers. A consideration of that content could provide hints of what ideas have become politically relevant to the digital commons.
Gordon Dalton reviews High Street Casualties: Ellie Harrison's Zombie Walk, in collaboration with Ort Gallery. Highlighting the 'creative destructive' forces of capitalism on Birmingham's busy shopping streets.
Patrick Lichty visits this year's Augmented World Expo to find out whether the increasingly immersive technologies of Augmented and Virtual Reality will give us superpowers or lock us in to the whims of our technological overlords.
J. R. Carpenter reviews Jussi Parikka’s 'A Geology of Media', the third, final part of his media ecology-trilogy that focuses beyond machines and technologies onto the chemistry and geological materials of media, from metals to dust.
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.
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.
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?
Workshops for all ages to hack your own scanner with Carlos Armendariz. Create images for a collective portrait of Finsbury Park based on the Nathaniel Stern commission. Also a chance to show your work in Furtherfield Gallery.
25 April - 21 June 2015, Open Friday to Sunday 11-5pm
The interface is the boundary across which information is exchanged, causing a transformation in one or both sides of that boundary. The artists in this exhibition, critical practitioners in art and technology, lift the veil on contemporary interfaces; setting out alternative routes, aesthetic visions and disruptive behaviours.
The exhibition introduces a new work and slit-scanner hack workshops by Nathaniel Stern to be created as part of a residency.
https://www.facebook.com/events/796218167127367/Behavioural Modernity is the first exhibition in a two-part program at Artistic Bokeh exploring changing politics of representation and ethics of care...
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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