Drone Aviaries & Field Guides – A Conversation with Superflux

Superflux are a design and foresight consultancy based in London. Founded by Anab Jain and Jon Arden in 2009, the studio produces prototypes and films that are simultaneously 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 with each edition. The first issue is a handsome A1 poster expanding on their recent work with drones and the duo has engaged in an interview with CAN about their new project.

Rhythm Necklace

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MoMA’s Digital Art Vault

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32-bit Noir – Michael Trommer’s Transmissions from the Technological Sublime

Transmissions from the Technological Sublime is a panoramic multimedia installation that depicts a nocturnal landscape of non-place populated by infrastructure rather than people. Hatched as a MFA thesis project within OCAD University’s integrated media program by Toronto’s Michael Trommer, the audiovisual piece renders highways, shipping channels, airports, and office parks as uncanny interstitial zones of contemplation.

Help Gray Area #ReviveTheGrand

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A Wilderness Most Luminous – The Making of Micah Scott’s Forest

Forest invites kids and adults alike to engage with a giant tactile colour mixer, with ‘spinner’ controls distributed across a 7 x 2 grid of custom-fabricated MDF panels. Built in collaboration between Micah Scott and a team at Ryerson University’s New Media Program, the interactive installation is currently showing at TIFF Kid’s digiPlaySpace. CAN goes behind the scenes to get a glimpse into this ambitious project’s conception and fabrication.

Rethinking Art & Machine – A Conversation with Marla Wasser

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.

Blowup Reader 8: New Materials New Methods

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Convergence, An ‘Art + Technology’ Summit at The Banff Centre

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.

William Gibson Interview—The Arcade

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Specimen Box—Analyzing Botnet Activity

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.

Timeframing: The Art of Comics on Screens

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Technology Gets Personal at FITC Wearables

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.

Jeremy Rotsztain’s BECHA-KPACHA

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.

Superposition—5.84 Quintillion Facets of the Digital Sublime

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.

HAPHEAD: a near-future videogame subculture webseries

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Aerial Bold: A Planetary Search for Letterforms

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