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.
The Aurullia series are Tom Beddard’s interpretation of a fractal formula called Mandalay, a specific type of Mandelbox with additional parameters that allow scaling of the folding on individual axes, either in parallel or one after.
On February 28, 2014, the world’s first art satellite, ARTSAT1: INVADER was launched as a piggyback payload of the H-IIA F23 launch vehicle. INVADER, a 10 cm cube 1U-CubeSat with a mass of 1.85 kg continued its steady operation on orbit, successfully completed an array of artistic missions before reentering the Earth’s atmosphere for disintegration on September 2.
Created by Adam W. Brown in collaboration with Robert Root-Bernstein, ReBioGeneSys – Origins of Life is an extreme minimal ecosystems theoretically capable of forming the self-organizing chemistries necessary to produce semi-living molecules and perhaps even protocells.
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.
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.
“The Crystal Line” is the latest work by critical engineer Julian Oliver. Re-creating an authentic crystal radio design that was used widely during WWI, the device broadcasts a transmission of ‘future of warfare’ chatter culled from various defence blogs that is translated from text to speech.
Created by Berlin based designer Jochen Maria Weber, Cuckoo is a communication device that uses social network as a means of private communication.
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.
Learn more about the making of HOLO 2. Featuring over 30 contributors from a dozen countries and a hefty 200 pages of premium print, HOLO returns and endeavours to be smarter, more substantive, and more special than our first issue.
Created by Simone Rebaudengo & Matthieu Cherubini, Ethical Things is a project that explores the effects of autonomous systems of the future, speculating what happens to the mundane and insignificant objects we rely on every day.
Created by Kenichi Yoneda (Kynd) in collaboration with Tokyo ‘visual label’ BRDG, [BRDG020] Lilium is an audio-visual experiment that combines Kynd’s research into water colour simulation with the music by Yopparigami/Yu Miyashita.
From November to January 2014, Muriel Guépin Gallery in NY was the home to ‘Bright Matter’, an exhibition of enigmatic works by five international artists widely recognized for their spatial-aesthetic research, creative engineering, and stunning perceptual hacks. We check in with the event’s instigator, curator, and participating artist Joanie Lemercier for a report, the back story, and a 2015 teaser.
The Augmented Hand Series is a real-time interactive software system that presents playful, dreamlike, and uncanny transformations of its visitors’ hands.
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.
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.
Wanderers is a collaborative project between Neri Oxman + Mediated Matter Group, Christoph Bader & Dominik Kolb to create four digitally grown and 3d printed wearables.
Created by Princemio in collaboration with onformative, the Pathfinder project was created with aim to contribute to the creative processes of choreographic development.
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.