Created by Francesco Tacchini, SPOOK-I is a hypothetical but operative US National Security Agency inspired machine. It mimics two surveillance techniques available to the NSA Tailored Access Operations unit, in order to expose the technology employed by state surveillance for the ‘weaponization of everyday’.
By publishing (and many other) standards, HOLO just took its first steps. Yet nine months after the magazine’s launch, we look back and can’t believe how far we’ve come. What happened? Here’s a stocktaking, a travelogue, and a teaser. The middle of December is a somewhat special time for us. Two years ago this past Monday, the…
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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.
Created by James Alliban, Nova is an experimental study of the slit-scan technique with a particular focus on emphasising its spacial and temporal properties.
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Untitled No. 1 is a video collage using only images collected from the previous 24 hour news cycle. The entire video was computationally generated using corpus based artistic stylization developed by Parag K. Mital as part of his ongoing research.
Created by Jamie Zigelbaum, Triangular Series is a site-specific lighting installation composed of numerous, truncated tetrahedral forms. Each object has an unique form and senses the other and the physiological rhythms of visitors beneath them.
Created by COCOLAB from Mexico and commissioned by ARCA, Cycles is an audio visual installation that uses a series of laser projectors to visualise short cycle audio compositions by a collection of A/V artists.
Convergence Summit, a four day conference “on art + technology” that took place at the Banff Centre Nov 27-29th. Located in the idyllic mountain-surrounded town of Banff, Alberta, the massive arts incubator played a important role in shaping discourse in and around ‘new media’ in the 90s and early aughties. With Convergence, the centre is planting a flag down and reasserting their importance as a key international digital arts venue—here is CAN’s report on the proceedings.
The third and final round of the world’s largest art exchange is now under way! Launched in collaboration with CreativeApplications.Net, Absolut invites digital artists around the globe to submit artworks for the art exchange.
Series of workshops by Ludwig Zeller at the Visual Communication Institute of the Academy of Art and Design in Basel to use generative systems to create visual instruments that mimic the expressivity of electronic music synthesizers.
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Visions of America: Amériques is a site-specific architectural video installation, developed to illuminate and enhance the Varèse’s composition and to activate the architecture of Frank Gehry’s Walt Disney Concert Hall.
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The Petroglyphomat is a a mobile, computer operated milling machine, that can send messages to a distant future by engraving them into ancient monuments.
Wanderers is a collaborative project between Neri Oxman + Mediated Matter Group, Christoph Bader & Dominik Kolb to create four digitally grown and 3d printed wearables.
Following their incisive examinations of online advertising ecosystems and browser activity ad profiling, the Office for Creative Research recently completed an interactive touchscreen-based interactive work that visualizes (and sonifies) botnet activity based on data collected by Microsoft’s Digital Crimes Unit.
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Last week the prolific Toronto-based tech event organizer FITC hosted a daylong summit on wearable technology. With a lineup bookended by ‘the father of wearable computing’ Steve Mann and Social Body Lab founder Kate Hartman, the invited speakers offered a range of opinions on ‘what’s next for wearables?’ for an audience of curious developers.
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Illusive rear-projections, flickering moirés, fluorescent puzzle boxes: opening this Friday, November 21st, at Muriel Guépin Gallery in New York City is ‘Bright Matter’, a dazzling group show that’ll bend, warp and (if only briefly) break the way we see.
Transfer Gallery in Brooklyn, NY is pleased to present Evident Material. This new series of work from Phillip David Stearns will be on view from November 15 through December 13, 2014.
BECHA-KPACHA is an algorithmic music video produced by Jeremy Rotsztain for the electronic musician COH. Riffing on traditional Russian folk patterns the colour-splashed animation is full of Rotsztain’s signature gestural forms and synchronized camera movements.
Created by Princemio in collaboration with onformative, the Pathfinder project was created with aim to contribute to the creative processes of choreographic development.
By repurposing biofeedback methods, whole-body vibration and wearable bioacoustic technology, the work aims to unlock latent qualities of the human body through its coupling with the technological system.
The second round of the world’s largest art exchange is now under way. Having started with the first round on the 1st October, over 2000 users from 70 different countries have submitted artworks. Currently over 4,500 artworks have been created and 1,600 saved.
Addie Wagenknecht’s first solo exhibition in the United States is currently on view at bitforms gallery in NYC. In her work, a critical space between lived experience and sculpture emerges, as she plays with the contemporary anxieties of post-Snowden information culture.
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?
Created by Alex Myers, Nothing of This is Ours is game of infinite, surrealistic worlds with creatures, alchemistic symbols, buddhas and other worldly cultural heritages.
Earlier this year, Resonate festival was the host to Transcranial, a CAN initiated project bringing Klaus Obermaier, Daito Manabe and Kyle McDonald to Belgrade for two weeks to work on a new performance piece, creating a bridge between three festivals in Europe.
onedotzero partnered with Letchworth Garden City Council to deliver a series of events and interventions for the inaugural Letchworth ‘Fire & Fright Festival featuring a new site-specific installation by Loop.pH.
Created by Cybero, the following are Quarz Composer video renders of a Perlin Sphere GLSL shader. Originally developed by Inigo Quilez and ported to QC with added audio interactivity , two texture channels, [noise and waveform image] and audio specific calculations and rotations.
Alphaville announces “New Realities”, an eight week free exhibition and parallel programme of events at Mobile World Centre in the heart of Barcelona.
Patterns of Harmony is an installation comprised of animated fractal of cubes, without containing any physical cubes, rather the reflections and projections of them.
RC4 in London researches computational design methodologies for large-scale 3D printing with industrial robots, taking logistical, structural and material constraints as design opportunities to generate non-representational architectural spaces with extreme information density.
Created by LUSTlab in collaboration with The Mobile City, Binnen de Lijnen is part of an ongoing research project called Public Space – Public Matter from Trancity. Over 100 children took part in colouring the playground which visualised the spatial organization of Schilderswijk’s social life.
Damp is an online experience of poetry through digital environments. Created through the marriage of content and context, story and book, poem and website, the poetic experience is as much in reading as it is in clicking and scrolling.
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Created by Florian Born, Modulares Interface B.A. is a physical interface for iPad comprised of knobs, buttons and sliders to provide precision and haptic feedback when operating a digital interface.
This past Saturday Ryoji Ikeda presented the North American premiere of superposition to a crowd of several hundred at the Musée d’art Contemporain de Montréal (MAC). As would be expected, the sixty-five minute multiscreen performance played out as kind of a data aesthetics megamix that flashed through a series of precisely choreographed abstract visual vignettes that grappled with the digital sublime and pondered the agnosticism of network culture.
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Tundra define themselves as a “collaborative artistic collective” whose members include musicians, sound engineers, programmers and visual artists. Their focus is to create “spaces and experiences by making sound, visuals and emotions work together” in audiovisual performances and interactive installations.
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