Created by the artist collective WERC, “Pixi” is a digital organism located in a dutch forrest, inspired by the complex patterns that exist in nature and questions whether a technical natural phenomenon can imitate the complex aesthetics of nature or interact with it.
CG artist Alan Warburton recently created an incisive video essay that describes the contemporary digital image as “spectacle, speculation, spam” and points at a few related practitioners and studios worth considering.
The latest iteration of a decade-long investigation into modular construction systems by Canadian Artist Jesse Jackson, Marching Cubes is an algorithm-inspired syntax for building volumes from 3D printed blocks.
Created by Diogo Tudela, Athletics of Transcendence explores how traditional craftsmanship can appear to legitimise and provide depth to otherwise flat computational constructs.
In a little over a week, the 6th edition of TADAEX festival (Tehran Annual Digital Art Exhibition) takes place at Mohsen Gallery in Tehran, Iran. It’s a strong manifestation of the digital scene in Tehran and the people who make it possible, it features Iranian digital artists as well as far reaching international network of collaborators thanks to an ongoing residency program with NODE Forum for Digital Arts.
CAN reviews “Digital Design Theory,” a recent Princeton Architectural Press text compiling writing from over five decades of thought on computation and design.
In the countryside surrounding the town of Modena, immersed in peace and silence, a big luminous country farmhouse is home to one of the most up and coming protagonist on the Italian digital art scene: fuse*. We were lucky enough to have the chance to meet up with Mattia, to ask him about his, and his team’s, passion for using innovative techniques and aesthetics used in their work, continually seeking new ways and means: the secret of their relentless and overwhelming success.
As 2015 winds down we look back at almost 200 extraordinary projects we’ve covered this year on CAN. And as is the case every year, picking the ten ‘best’ is hard if not impossible, as each of them has driven the conversation around the state of art and design in their own unique way. And yet, the following ten works stuck with us and, if anything, make great starting points for reflection and inspiration as we head into the new year. Until we continue our coverage in early January: happy holidays and thank you all for a great 2015!
Created by Refik Anadol in collaboration with Kilroy Realty Corporation and SOM Architects, Virtual Depictions: San Francisco is cinematic and site-specific data-driven sculpture consisting of 90 minutes long dynamic visuals projected in the building lobby’s 40-foot-tall screen and visible from the street.
Created by James Boock, Sound Revival is a range of objects and a custom 3-Way sound system that uses the analogue means of materials and mechanical movements to manipulate sound.
At CAN we don’t really care for lists. But as we look back as the year winds down, we’re known to make an exception. To keep up with our tradition, we present our most memorable projects of the year.
Will digital technologies make an impact on democracy? Is the future museum an online environment? Could an app redefine past and present? What more can online participation involve? How does cultural exchange take place online?