Features

Digital Artifacts | Frances Gichner

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…

The interactive video element of gazing

Response to Gazing | Alexis Angelus

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 | Kailum Graves

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…

The Station | A Response by Gabi Williams

“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…

Roya Ebtehaj | Q+A

Roya Ebtehaj is an Iranian multimedia artist and educator. In her piece Plastystopia (2019), Roya displays the influence of capitalism and western beauty standards on a universal scale, with a focus on Iran. In this interview, she shares her experiences with social media, her effort to focus on universal themes in…

Plastystopia | Roya Ebtehaj

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…

A screenshot of the I voted art

I Voted | Meghan Kozal

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…

Click, Drag, Nip, Tuck | Luke Malcynsky

In the digital collage series, Click, Drag, Nip, Tuck (2019), Luke Malcynsky sheds light on the powerful influence of social media, digital photo-editing tools and cosmetic surgery on societal beauty standards and the female body. In a style reminiscent of early 20th century Dada, the four-part, black-and-white series combines bold designs…

HMU | Marina Tinone

In Marina Tinone’s lyrical essay HMU (2020), they produce an intimate portrait of the narrator’s relationship with a phone. Using allegory and repetition, Tinone portrays a post-internet world in which a user’s experience of the digital world is indistinguishable from their physical space. ::: I need an answer. I need…