Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
From smart vibrators to mind-controlled sperm, these artists are using technology to explore sexuality and bodily autonomy.
American Artist and Lawrence Lek are among the recipients for LACMA’s 2021 Art + Technology Lab grants and Hyperallergic got a sneak peek.
The documentary Coded Bias reveals how prejudices are written into the algorithms that run our world.
Surface Tension comes down to warring necessities: we need to feel connected on a human level, but we also need the devices that insidiously contribute to a climate of virtual, rather than physical, connection.
In The Curved Body of a Pixel, artist Kimberly Acebo Arteche posits that despite its speed and pervasive presence, technology ultimately fails to narrow wide experiential gaps created by geographic distance.
A conversation with the artist Elias Sime, whose work interrogating our bond with electronic media is now on view at the Wellin Museum.
Hyperallergic has the exclusive premiere of Meredith Lackey’s Cablestreet, a surreal documentary short about Chinese tech giant Huawei.
A new documentary examines the downfall of the software company General Magic, and raises questions about Silicon Valley’s philosophy on failure.
With roots in activism, accessibility, and design, Spectacular Grammar considers technology’s progressive potential for empowerment.
NeuroSpeculative AfroFeminism engages Black womanhood and technological possibility, rejecting the marginalization of people of color in the scientific realm.
The spectacle can be found on every screen that you look at. It is the advertisements plastered on the subway and the pop-up ads that appear in your browser.