Keith Fullerton Whitman has spent decades exploring electronic utterances. He first began playing with them on his Commodore Vic20 when he was ten, but eventually moved on to study music at Berklee. By the early aughts, when software tools for creating electronic music were getting cheaper and easie
Two years ago, Hamish Todd was diligently working on a puzzle-shooter called Music of the Spheres. Inspired in equal parts by Castlevania, Everyday Shooter, and the geometric beauties of Islamic art, the game was quiet, almost still, and, according to Todd, its reception was equally quiet. “Aside fr
Say the words “Radiohead” and “new music” almost anywhere and you are bound to attract attention. Maybe even a lot of attention. So when I heard that Radiohead’s interactive wandering app, PolyFauna, from developer Universal Everything, was not only being updated but also that it had 8 new tracks th
Di Mainstone is an artist whose work bridges the gap between sculpture and the human body. She entwines the two, creating wearable, touchable, playable apparatuses that range from pulsing Cronenberg-style bioforms to a neck-mounted motion-based instrument that transforms its wearer into a one-woman
Rage with the machine. Not against it. “8bit captures the tug and pull between computer and player, the interaction between an unforgiving system and your racing heart.”
Rock and opera go together like baking soda and vinegar, so it goes without saying that Karmaflow: The Rock Opera Videogame is the most glorious, ostentatious guitar-epic ever played. I don’t think I’m overstating this. I don’t think overstatement is even possible. I mean, the trailer presents one m
Videogames in museums are nothing new, but usually exhibits with games are exclusively about games and separate from the other art, as if games are relegated to the kid’s table because of the fear they’d make inappropriate fart noises in front of the grown-ups. But the Digital Revolution exhibit, o