In the posthuman opera "The End" Vocaloid Hatsune Miku is unreal and ageless but possibly not death-defying. What can a not-quite-Open-Source media phenomenon teach us about mortality and cultural alienation? And how much further can the figure of the virtual idol singer be taken in a world which increasingly resembles the cyberpunk dystopias that it originated in?
Rachel Falconer writes about the cyberfeminist art collective 'subRosa', a group using science, technology, and social activism to explore and critique the political traction of information and bio technologies on women’s bodies, lives and work.
McCain discusses how capitalism has become on the one hand all-encompassing and on the other utterly unreal. Arguing that we need to be prepared to think the impossible so that resistance is able to grow. It attempts to weave an account in which system failure is seen as a point of rupture, whether in legislation, bureaucracy or thought itself.
In the 5th and final part of his series on classic Videogames and their appropriation into contemporary art. Mathias Jansson guides us through the many works within the game art world that have been inspired by Super Mario. From Miltos Manetas to Cori Arcangel and Antoinette J. Citizen, this article unpacks the many ways in which this popular videogame character has influenced the work of various artists.
Pete Gomes reflects upon his experience at the four day event Signal : Noise, held at the new Showroom space in London (UK). An experimental cross-disciplinary research project exploring the influence of cybernetics and information theory on contemporary cultural life by testing out its central idiom, ‘feedback’, through debates, performances, and events with artists, theorists and historians.
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