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.
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 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.
Even if digital art is still in its infancy, it flourishes while essentially remaining unevaluated and the public approaches it with a degree of curiosity. New art forms in the immaterial digital domain demand a general rethink in terms of their conservation, presentation and acquisition.
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.
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.
How do we represent ourselves and bodies in an environment that is increasingly saturated with mediation? Erik Zepka looks at the work of a series of artists practicing on the internet to get a idea of what those representations might look like, and why they might be important.
Ben Valentine contrasts the implications of his couchsurfing present with the precarious and monetized future of the ideal home in his review of Space Caviar's book of commissioned essays SQM: The Quantified Home.
Rob Myers takes a look at how we can subvert the operation of the algorithms that the Digital Humanities, corporations and governments use to read, see, and draw conclusions about human expression by treating them as the true audience for contemporary art and literature.
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