In Listen to Big Data (2019), Dong Yuxiang creates an auditory environment for listeners to “meditate on the materiality of big data” and the environmental impacts rooted in the infrastructures of information communication technology. This sound piece is composed of field recordings captured at eight locations in and around a…
Sounds are an increasingly prevalent form of digital art, which Julia Fairbrother strongly demonstrates through one of her most recent works, The Sounds That Divide Us (2020). The national anthems of the ten countries with the most COVID-19 cases are presented, creating a singular anthem that stands alone as its…
In Li Zhongkai’s Gazing, an interactive five channel video positions viewers in a world where “the gaze” asserts authority. In his schematic, Zhongkai introduces the philosophical backbone of his work, identifying with theorists like Michael Foucault and Jean-Paul Sartre. After introducing themes from cartesian dualism to feminist film theory, Zhongkai…
In an increasingly digital world what is happening to the artifact? Essays, art, and digital histories all exist online, in a space independent from the physical realm. Kenta Murakami writes: “I am not asking about replacing objects with digital replicas, but asking about the creation of independent digital objects. The…
In Gazing (2019) Zhongkai Li explores voyeurism and authority. Li confronts the viewer with their own image projected upon a simple black screen; at once, the interpreted becomes interactive. With a user’s enabled webcam, Li plants their face into a revolving video channel with five other strangers. By moving the…
Spukhafte Fernwirkung (2018) compacts the endless, challenging landscape of Iceland into a 36-minute time lapse of images (640×480) collected from www.road.is, a website for monitoring road conditions in Iceland, over a three year period. Beginning the process in Skagaströnd before moving to more remote locations, Kailum Graves compiles and arranges…
“Each person is temporal, but the ideas that mankind creates are eternal. It perpetuates itself” – A.I. Alex, The Station 1920s. In the grand scheme of time, humans have not existed long at all. Regardless, we have made irreversible changes to the Earth in the age of the Anthropocene. And…
In Streets (2020), artist Michael Seh creates abstract layers of convolutional patterns using 70,000 images of New York City streets. Streets explores the enormity of data collection by questioning how our physical, familiar world has become increasingly—overwhelmingly—digitized. ::: HD videos (color, silent), dcgan, horizontal orientation collaboration w/ benckx ::: Michael…
In Plastystopia, artist Roya Ebtehaj uses multimedia displays to portray the influence of capitalism and Western beauty aesthetics on a universal scale, with a focus on her native Iran. The slang #palang is used by Instagram followers to tag users who dramatically alter their appearances; this hashtag helped Roya find…
In I Voted (2020), artist Megan Kozal uses embedded video clips to examine American news consumption, voter education, and voter apathy. Kozal’s minimalistic web page accentuates the short amount of time it takes American voters to feel informed and guides viewers to political sound bites, debate highlights, and talk show…