CAN’s report on Sónar+D, the Sónar Festival’s sidebar congress on ‘creativity, technology & business’ that took place June 18th-20th in Barcelona.
An interactive (and immersive) documentary on code and creativity, Jonathan Minard and James George’s CLOUDS is an ambitious project that is several years in the making. CAN donned an Oculus Rift DK2, explored its landscape and has weighed-in with a review.
CentrePasquArt’s super-group show Short Cuts invites viewers to trace ideas, influences, and positions across five decades of work by merely taking a few steps.
The sixteenth edition of Montréal’s ELEKTRA festival took place from May 13th-17th and delivered a range of audiovisual performances and installations addressing the notion of ‘post-audio’ or perception beyond sound—CAN was on hand to have our retinas singed and eardrums buzzed by the ‘POST-AUDIO’-themed programming.
This past December a dozen artists, activists, and researchers converged at the STUDIO for Creative Inquiry for a book sprint. Led by Addie Wagenknecht, the all-women cadre convened under the collective moniker Deep Lab, and examined how privacy, security, surveillance, and large-scale data aggregation are problematized in the arts, culture and society.
Greg J. Smith reviews Anthony Dunne & Fiona Raby’s recent ‘critical design’ treatise “Speculative Everything”.
AIT (“Social Hacking”), taught for the first time this semester by Lauren McCarthy and Kyle McDonald at NYU’s ITP, explored the structures and systems of social interactions, identity, and self representation as mediated by technology.
Landscape Futures is a recent book edited by Geoff Manaugh that unpacks the wildest intersections of landscape architecture, technology and perception. CAN interviewed Manaugh about the book last week to provide a window into this ambitious curatorial (and now editorial) project.
As you enter the Evil Media Distribution (EMDC) centre you’re faced with a central seating arrangement of stacked palettes. Flanking either side of the ad-hoc settee are walls festooned with clipboards, some of which have a second clipboard positioned beneath cradling a sealed baggie with objects inside…
A strangeness abounds when people are asked to theorize and elucidate something so untethered and rhizomatic as the Internet. At its basic structure, networks connect us to the images, data and knowledge we draw upon every day. Yet what is at the heart of these connections and what separates or integrates our In Real Life (IRL) and digital personas?
“The main change in the design process achieved by using generative design is that traditional craftsmanship recedes into the background, and abstraction and information become the new principal elements.”
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