Three artists share the perspectives that have shaped their work with glitch.
Outland is a new platform dedicated to fostering critical conversations around emerging digital technologies and their connections to contemporary art.
Inspired by his research in theoretical physics, Eric De Giuli makes dynamic digital works that evoke nature’s emergent properties.
The prototypes of the CripTech Metaverse Lab suggest that virtual worlds can appeal to users by offering multiple ways of being online.
Curator Franziska Kunze discusses an ambitious survey of glitch practices, spanning from early photography to net art
The Museum of Modern Art’s Postcard project is a collaborative art-making game that upends the commercial expectations of NFTs.
The artists discuss their attraction to live coding, which becomes a means of bringing processes to the surface and pushing their limits
The hacker folk art of esoteric programming languages yields insights into glitch as a practice that hijacks existing algorithms to emphasize plurality and freedom.
Prompt-based image generators seem unhackable. But a committed glitch artist can still instigate interventions.
Four artists share the tools and approaches they have developed for working with glitch.
The two glitch practitioners compare notes about their creative journeys and communities, both online and offline.
Guest editor Rosa Menkman introduces a special issue on the artistic practice of glitch.
Curators Benoit Palop and Vienna Kim discuss the nostalgia and social signaling that drive the impulse to collect.
Simulated brushstrokes have long appeared in digital art. But generative art's expressivity is less about imitating painterly gestures than devising a system to produce them.
How can the generative art community foster innovation and creativity, and a better ecosystem?
Increasingly, painters are using digital tools and computer-generated images to capture the tone and texture of reality.
Jonathan Chomko’s pixel-based water simulator critiques the fetishes of randomization and realism in generative art.
Duane King of Highlight and Paul Schmidt of fxhash reflect on the evolving field of code-based art the platforms supporting it.
Founded by Czech entrepreneur Karel Komárek, the Basel-based collection has an explicit focus on digital and new media art.
Generations of artists have experimented with automated handwriting, illustrating the ongoing entanglement of humans and machines.
The significance of contemporary generative art hinges on how it brings disparate kinds of similarity and difference into unreconciled—and productive—tension.
The tools of web3 tools offer some exciting possibilities for art organizations. But it’s still crucial to build human networks around them.
How is the web3 principle of decentralization changing the way art is funded, produced, collected, and displayed?
Outland’s new guest editor Refraction DAO is creating alternative models for organizing and funding an international network of exhibitions and events.
The community structures of Friends with Benefits and Refraction DAO are informed by web3 tools, but not determined by them.