Can electronic generative art be interpreted as performance with machines instead of bodies? What if we are too focused on results, rather than the process?
The main aim of the show is to offer a creative, clever perspective on the reasons behind the alienated and addicted relationship we sustain with social media platforms.
“To immerse yourself” means to actively limit your senses so that you can experience a different dimension, such as a virtual world or a novel.
Jan Robert Leegte’s work demonstrates how today, as 150 years ago, low-res messages are meant to be experienced and enjoyed in the least amount of time.
Why do these portraits almost always fall short of being lively or authentic?
It may surprise the reader to find that one of the founding moments for the development of virtual reality actually happened in Florence, in the early 15th century.
A sense of risk permeates mainstream stories about the dark web. This unsafeness attracted the attention of those artists and creatives who critically focus on the study of digital tools.
The creation of digital artworks made to be displayed anywhere is the latest development of a process begun hundreds of years ago.
For contemporary artists wondering which directions glitch art may take, 18th-century Rococo architecture offers an instructive example.
The aesthetic niche combining electronic music and digital art finds an ancestor in Surrealism, particularly in the self-taught French painter Yves Tanguy.