Created by Riccardo Lardi, The Reality Gap is a research project that investigates how robot movements evoke empathy towards humans and speculates where will the next generation of robotic systems come from and where will they go.

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Livegrid is a harmonious blend of technology and art that brings environmental awareness right into your living space – now looking for support on Kickstarter.

Luciferins—inspired by bioluminescent fish and the plethora of invisible network traffic that surrounds us—is an interactive environment of hanging fiber structures, filling a 15 x 15 foot space.

Surrogate is a body of work centred around issues of reproductive technology and bodily autonomy comprised of a series of physical and performative inputs and outputs to engage and provoke conversations about the topic.

The Perfect NFT is a performative art installation which considers blockchains as a medium for artistic expression.

Between October 6th and 9th 2022, the 11th edition of the Patchlab Digital Art Festival will be held in Krakow.

Created by Kachi Chan, ‘Sisyphus’ is an installation featuring two robots engaged in endless cyclic interaction. Smaller robots build brick arches, whilst a giant robot pushes them down – propelling a narrative of construction and deconstruction.

The first post of a series on the state-of-the-art of live media performance curated by Federica Patti, focus on live stream. With three live shows to see and follow here.

Created by Saurabh Datta, ‘mi/e-metic self’ is an installation that represents a sculptural being, a memetic representation of an evolved us.

HOLO is ending the year with a bang: a new website. Launched six weeks ago,
HOLO.mg expands the print magazine into a more robust, ‘always on’ editorial and curatorial platform. Already a hub of activity, two major research projects are underway, and a slate of new stories and favourites from the HOLO archive are due in 2021.

In November 2019, CAN joined the biannual ECAL Research Day to find out how methodologies borrowed from science and engineering can strengthen creative practice—and drive the conversation.

In October CAN headed to Pittsburgh to toast the 30th Anniversary of The Frank-Ratchye STUDIO for Creative Inquiry. The event was accompanied by “Intersections,” a dynamic group exhibition showcasing many of the anti-disiciplinary works produced within the labs. Here, we review the show and share details about various included works.

Report from the inaugural CAN-curated event series ‘Document #.’ examining new forms of cross-disciplinary art and design practice.

This past March, CAN joined forces with UAL Creative Computing Institute to present the first in a series of events that examine new forms of cross-disciplinary art and design practice. Entitled Document 1., the event was comprised of a workshop, seminar, and symposium, and took place at UAL’s newly refurbished Camberwell College of Art in London.

Learn how to prototype post-screen interfaces, examine network infrastructures, hack museums, and transplant scents with leading artists, designers, and researchers at this year’s Mapping Festival.

Yuri Suzuki and Pentagram in collaboration with Counterpoint have re-imagined the Electronium – Raymond Scott’s instantaneous performance-composition machine.

What is art? Is it the unsaid? The unsettling? The last few years have been very happening in the field of Generative/Procedural art. We have seen some of the exciting applications of this field hitting mainstream media — may it be generative architecture like the Digital Grotesque, or the AI generated paintings which sold for a bang…

Created by Pierry Jaquillard at ECAL (Media and Interaction Design Unit), Prélude in ACGT is collection of tools that explore the relationship between music and biology. The project uses Pierry’s own DNA (chromosome 1 to 22) and converts it into music.

Artificial Imagination was a symposium organized by Ottawa’s Artengine this past winter that invited a group of artists to discuss the state of AI in the arts and culture. CAN was on hand to take in the proceedings, and given the emergence of documentation, we share videos and a brief report.

Review of the exhibition last month at the Asia Culture Center in Gwangju, South Korea – a collection of 12 works questioning the essential meaning and significance of the data world.

Dan Tapper is a British artist based in Toronto that combines his interest in code and celestial form and his recent research project “Turbulent Forms” visualizes and sonifies various cosmic phenomena. To mark the recent exhibition of this work (and related collaborations with several composers) we present this extended conversation with the artist about cosmology and data aesthetics.

Created by David Colombini, The Weather Followers is a commentary on ‘smart’ applications and predictive, comfortable digital routines. Instead of relying on ‘accurate’ data, intangible algorithms and hidden lines of code-driven lifestyles, this device brings serendipity to your digital life, using constantly evolving weather data recorded by four weather instruments.

‘How much should we let algorithms shape our lives?’ is the question at the heart of Ed Finn’s recent book “What Algorithms Want: Imagination in the Age of Computing”. Scanning Silicon Valley, computer science, and the cultural sphere alike it offers a smart and accessible reading of our current moment.

“Queer Games Studies” is a recent collection of thematic essays published by the University of Minnesota Press that schematizes LGBTQ approachs to thinking about – and making – videogames.

HEAVY BODY PAINT is a new installment in an ongoing series of works by the NYC-based artist duo exonomeo that fuses paint and pixel in dry self-referentiality.

On display at the recent Armory Show in New York was the work of Amsterdam based Studio Drift featuring ‘Drifter’, a free floating concrete monolith together with ‘Concrete Storm’, a Holo Lens experience comprised of mixed reality art object.

Machine Art in the Twentieth Century is a recent MIT Press-published book by Andreas Broeckmann exploring ‘machinic’ art-making. CAN weighs in with a review of this survey of moments, movements, and key figures spanning futurism to the present day.

In his annual SXSW wrapup, science fiction author and design theorist Bruce Sterling laid a smackdown on Silicon Valley re: AI and automation.

“Evidentiary Realism” is an exhibition that delves into the aesthetics of sites of inaccessibility, incarceration, and intrigue. CAN’s NYC correspondent Dylan Schenker ponders the Paolo Cirio-curated show, which emerges from the collaboration of NOME and the Fridman Gallery.