Pioneering digital artist Miguel Chevalier discovered within Islamic art a language similar to his own. His interest in the generative image, ornate designs, virtual cities, and especially algorithmic art has commonalities with the symmetrical geometry seen in Persian rugs, and mosques such as Jama
Somewhere, between childhood and adulthood, we start to look at the world differently. Over time we forget what it’s like to experience the world as a place filled with color and music the way we did as children. It’s a transition that can only be described as a shame. “an instrument for exploring”
You can catch an excerpt screening of Thank You For Playing at Kill Screen’s one-night film fest at the Two5Six conference in May /// There’s a scene in Thank You For Playing, a documentary capturing the emotional journey behind the creation of That Dragon, Cancer, which summarizes both projects pre
Somewhere in the future of the mid-1980s, rockstar journalist Edison Carter had his memories captured into a computer software imaging device. From this, Max Headroom was born. Max would travel through television sets, gathering information to expose the wrongdoings of major news corporations. Howev
Editor’s note: An earlier version of this article misrepresented MacLarty’s motivations. It has been revised following a discussion with him. Videogame designer Ian MacLarty recently took part in a game jam, as part of the Freeplay festival in Australia, that was themed upon diversity, multiplicity
If you’re a parent, or have been a parent, then Pippin Barr’s Jostle Parent will be a familiar experience. If you—like me—haven’t had kids of your own yet, then this will only put you off the idea completely. It’s what Barr rightly determines a more tragic riff on the concept behind Octodad: Dadlies
Shooting with the clarity of a drunk pissing into the brown-green water of a night club’s toilet bowl, my pool game has always been effervescent. While my friends seem to play on a smooth cloth-covered table, one primed for cue sports, when it comes to my single turn (for I will rarely, if ever, bri
When Russian artist El Lissitzky printed his 1920 Soviet propaganda poster “Beat the Whites with the Red Wedge,” he had no idea it would become iconic. It was its bold symbolism that did the trick. The Russian civil war was reduced to a potent display of shape and space. The Bolsheviks were represen
