Serena Cangiano reviews “Perfect Behaviours – life redesigned by the algorithm” curated by Giorgio Olivero and on show in Turin, Italy’s OGR Officine Grandi Riparazioni.

Created by Playmodes, ‘FORMS – String Quartet’ is a live multimedia performance for a string quartet, electronic music and panoramic visuals, in the field of visual sonification. The project originates from a real-time visual music score generator created by Playmodes, that is designed with a set of rules using graphic generation, driven by randomness and probability.

‘A Natural History of Networks / SoftMachine’ is an electrochemical algorithmic performance that probes an alternative computational and technological material regime.

The Tyranny of Birds by Neil Mendoza empowers bread to escape its avian oppressors. The installation consists of a flock of robotic bread birds that take flight when real birds appear on the screens surrounding them. It was created for The Children’s Museum of Pittsburgh during an artist residency there. Each bird starts life as…

Created by VTProDesign, ‘Aberration Lab’ is a participatory art experience that alchemizes user-submitted tweets into long exposure light paintings drawn in real time by a Kuka robot.

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.

Created by Peter Buczkowski, Current Times explores the concept of division of labour, one of the most common practice of the industrial world, applied to computer games.

Huge stroboscopic datastreams, hypnotic human-machine choreographies, a cacophony of Korean, Japanese, English, German, and French – ten weeks ago, from November 25th to 28th 2015, an unlikely cross-cultural exchange took over the all new ACT Center in Gwangju, South Korea. More than a hundred artists, designers, curators, and educators answered our invitation to add their work and voice to the inaugural edition of ACT Festival, an opening celebration for the center’s monumental facilities.

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.

In this social networking microcosm where the living, content generators, the dead, automated bots, spammers all share a peaceful coexistence, Matt Pearson questions his “other” self who speaks his language and says just the kind of things he would say.

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