João Enxuto and Erica Love collaborate on projects that examine the dynamics of value and labor in creative economies. Enxuto received an MFA in Photography from RISD and Love holds BAs from Brown University in Economics and Visual Arts and an MFA from UCLA. Together they were fellows at the Whitney Museum Independent Study Program and were awarded a New York Foundation for the Arts Artist Fellowship (2023 & 2017) and a Creative Capital Andy Warhol Foundation Arts Writers Grant.
Anybody who has been in the Dolomite mountains in recent years will have noticed the large number of dead trees in the midst of forests that were once vast stretches of uninterrupted green. The death of all these trees has been caused by the auger beetle, an insect that burrows under the bark of spruce trees, blocking vital sap flow and causing tree death in a short time.
Primavera De Filippi is a member of the EU Blockchain Observatory and Forum and a permanent researcher at the National Centre for Scientific Research (CNRS) in Paris. She collaborates as associate faculty with the Berkman Klein Center for Internet & Society at Harvard University and is a Visiting Fellow at the Robert Schuman Centre for Advanced Studies at the European University Institute. She is a member of the World Economic Forum’s Global Future Council on Blockchain Technologies and a co-founder of the Internet Governance Forum’s (IGF) Dynamic Coalitions on Blockchain Technology (COALA).
The future of digitalisation is dystopic, and it is already very close at hand. At least, this is the opinion of the Chinese multi-media artist, Cao Fei (Guangzhou, 1978). Cao Fei sees art not only as a social instrument, but also as assuming a prophetic role. In her films and installations, the artist combines social comments, popular aesthetics, and references to Surrealism
Mozzarella Light is the artistic duo composed of Giulia Ciappi (Poggibonsi, 1997) and MarcoFrassinelli (Rome, 1992). They trained at the Academies of Fine Arts in Florence and Rome, where they graduated in Sculpture, and at the Universidad del País Vasco in Bilbao, Spain, doing workshops and residencies in the USA, Greece and Israel.
The usage modes and integrative processes of the technologies we use on a daily basis seem to be shaped and shaped solely through the computing and aesthetic interfaces that filter user-instrument interaction. Yet it is the normative, ethical, and legislative plans that should be at the center of the processes of educating, training, and shaping the development of the technologies we use.
Every new technology brings with it the promise of a technological revolution, but quite often, this promise is not kept. Indeed, rather than generating progress, advances in technology may actually increase inequality, by giving certain social groups even more advantages over other, already disadvantaged groups. Diletta Huyskes turns a spotlight on the paradoxes that the introduction of new technology gives rise to in a volume entitled Technology of the Revolution, published by “il Saggiatore”.
Imagine being able to move back in time and visit the ancient Buddhist Mogao caves in Dunhuang at the peak of their splendour, travelling along the Silk Road with merchants and pilgrims, as described in The Travels of Marco Polo. For some time now, this idea has no longer belonged to the world of science fiction. A visit to the Mogao caves, one of the most important Buddhist sites in China, begins with an immersive video experience that takes visitors back to the times of the great trade routes along the Silk Road, in the centuries when the Dunhuang oasis in the Gansu province was the crossroads of culture and merchandise coming from Central Asia.
Numerical art, often called digital art, includes all forms of art created or presented using digital technology. This term comprises a vast range of artistic methods, that use computer instruments and technologies for their creation, transformation and fruition.
In the professional career of any museum educator, perhaps during a guided tour, sooner or later they will need to contend with digital works, crypto, or the results of an algorithmic process. Whether this refers to TTI (text-to-image) linked to artificial intelligence, or “plain” NFT, the question they must ask themselves is always the same: how do we present it to the museum consumer?