Dave Young writes about the context of Localhost: RWX, a symposium and worksession at Edinburgh Sculpture Workshop from 29-31 October 2015. He explores how the filesystem mediates our everyday use of computer interfaces, shaping our interactions with our data and digital tools.
The blockchain grants the author the exclusive right to reproduce, publish, and sell the content and its intellectual property. How does the art scene react to these new technological developments? To find out more, Annette Doms asks Alain Servais (collector), Wolf Lieser (gallerist) and Aram Bartholl (artist.)
The Anarcho-Capitalist future utopia of post-Bitcoin Crypto 2.0 systems meet the historical organizational forms of Socialism. Rob Myers brings the trustless code of Decentralized Autonomous Organizations into contrast with the very human activity of Workers' Councils.
Patrick Lichty reviews the 2015 International Symposium of the Electronic Arts in Vancouver. He examines a crossover between media art and mainstream contemporary art, and considers whether it successfuly disrupts the perceived ‘wall’ between technological arts, art history and the ‘art world’.
An analysis of the Mercedes-Benz collaboration with Ars Electronica for the European launch of the brand's intelligent car prototype - the F 015 Luxury in Motion - and the problems that many high-end brands in traditional industries seem to have envisioning a believable future. This article is a collaboration between Gretta Louw and Natalie Kane.
Marc Garrett interviews John Jordan and Gavin Grindon about their collaborative publication, 'A Users Guide to (Demanding) the Impossible'. "This guide is not a road map or instruction manual. It’s a match struck in the dark, a homemade multi-tool to help you carve out your own path through the ruins of the present, warmed by the stories and strategies of those who took Bertolt Brecht’s words to heart: “Art is not a mirror held up to reality, but a hammer with which to shape it.”
As founder/director of the Media Archeology Lab in Colorado, Lori Emerson has (since 2009) been surrounding herself with "dead" media technologies in order to help make sense of (and critique) today's much-hyped alive ones. Montgomery Cantsin conducted this interview upon the release of Lori's new book, Reading Writing Interfaces.
Based on an interview with the Critical Glitch Artware Category organizers and contenders of http://www.demoparty.us/: jonCates, James Connolly, Eric Oja Pellegrino, Jon.Satrom, Nick Briz, Jake Elliott, Mark Beasley, Tamas kemenczy and Melissa Barron.
The Freesound Project is a web repository of audio samples available under the Creative Commons Sampling Plus licence. It concentrates on sound rather than music, and has a wide variety of samples accessible through an easily navigated interface.
Rob Myers takes us on a short historical journey of Glitch as an aesthetic signifier of technological presence that dates back at least to the 1980s. Referencing the Vaught-Kampf machine in Blade Runner (1982), the titular character in Max Headroom (1985). And how the use of Glitch as an artistic aesthetic in itself has accelerated with the democratization of new technologies.
The first of a brand new series of Mathias Jansson's study of Videogame Appropriation in Contemporary Art. This article explores the videogame Tomb Raider and Lara Croft, using Anne-Marie Schleiner's question as it's central theme, "Does Lara Croft Wear Fake Polygons?" asked in a gender analyse essay published in 2000 in the Switch magazine. Including examples of works by artists who have appropriated, intervened, hacked and critiqued this popular videogame character.
Join The Bad Vibes Club (Sam Mercer and Matthew de Kersaint Giraudeau) for an afternoon of presentations, discussions and films about interruption and its relationship to art practice and contemporary culture.
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.
Furtherfield is a Not-for-Profit Company Limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH.