Superflux are a design and foresight consultancy and bespoke R&D lab based in London. Founded by Anab Jain and Jon Arden in 2009, the studio produces prototypes, research, and films that are simultaneously savvy, prescient, and playful—and now they can add ‘magazine publisher’ to that list of outputs. A few weeks ago the studio announced the first edition of Superflux, a Warren Ellis-edited periodical that would mutate in medium from issue-to-issue and archive and disseminate their research and aesthetic. The first issue is a handsome A1 poster expanding on their recent work with drones and—intrigued by both form and content—an email discussion ensued and the duo shared a PDF of the poster for CAN to inspect. To further contextualize the project, Jain and Arden have engaged in an interview about drones, their new publishing imprint, and foresight.
MUTEK Montreal returns with another dynamic edition. As was the case last year, we’ll be doing live interviews with some of the featured audiovisual artists within the festival’s daytime program—join us! A showcase of ‘the state of the art’ in chic house, techno, and dynamic audiovisual performance, the 16th edition of Montréal’s MUTEK festival takes […]
Toronto-based curator Marla Wasser is the mind behind “RAM: Rethinking Art & Machine”, a media art exhibition currently on display at the Art Gallery of Nova Scotia that contains work by media art heroes like Angela Bulloch, Jim Campbell, Manfred Mohr, Alan Rath, and Daniel Rozin. Wasser recently engaged in an extensive interview with CAN, in which she shares some behind-the-scenes details about her show .
CAN goes in-depth with the Paris-based ‘anticipatory’ design studio N O R M A L S to learn about their forthcoming dark, dense, and dizzying graphic novel series. Working process, representational techniques (that bridge illustration and code), and a critical reading of contemporary design fiction.
Benedikt Groß is a speculative and computational designer whose work is often featured on here on CAN. We recently interviewed him in order to glean a little insight about Benedikt’s thoughts his recent work, ‘outsider’ cartography, and generative strategies.
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.
Building on the momentum from a conversation that began at Eyeo last month, CAN talks to Brooklyn/Providence-based media artist Brian House about data, sonification, performance and scandal.
Matthew Plummer-Fernandez’s ongoing exploration of digital fabrication and recent commission to produce a new work, titled Venus of Google, for Design Exquis. CAN was fortunate enough to engage him in a freewheeling conversation about the undertaking.
CAN talks to Ash Nehru (Director of software) and Matt Clark (Creative Director) about d3 – visual production suite that brought us the memorable Massive Attack tour in 2002 and more recent projects like the Origin. We talk how it all came about, what is the tool, it’s features, working methodology and the future.
We have already seen what CAN would be like if it was a magazine but what about Radio? Well, we are quite confident that if we ever did that, Artists in Laboratories on ResonanceFM by our dear friend Regine Debatty from WeMakeMoneyNotArt would make a perfect precedent. (image above Koen Vanmechelen – via) Regine Debatty reports […]
On first glance a vacant warehouse in downtown Los Angeles might read as derelict industrial space, but look a little closer and you can see the glimmer of a nascent world class media lab. Three weeks ago, LA Game Space stormed onto Kickstarter with an ambitious proposal to transform the raw space that they’d scouted […]
Over the last two months CAN has drawn attention to many of the integrated AV performance projects featured at MUTEK 2012. This has taken some time as there was no shortage of material to choose from. Occupying quite a prominent place within this year’s MUTEK programming was the CineChamber, an intimate, “live cinema performance environment” […]