Appreciating Alan Wake’s Adverb Apocalypse

Twilight of the Spielberg Image

Steven Spielberg's career wrestles with the power and meaning of image-making, and his sci-fi "Disclosure Day" makes this its very subject.

In the wake: on Blackness and being

In this original and trenchant work, Christina Sharpe i…

The Death of DeviantArt and the art-site shaped hole haunting the Internet - Multi-hyphenate

Why every new "Art Community" fails. Equal parts eulogy, condemnation, and mourning.

The AI Aesthetic

Writing about the big beautiful mess that is making things for the world wide web.

Steven Spielberg’s ‘Disclosure Day’ Turns Autofiction Into Thrilling Sci-Fi

The Hollywood maestro’s latest is filled with excitement and sentimentality.

The Pines asks what would Alan Wake look like if it was about therapy, and I kind of want to know the answer

The open world psychological horror RPG looks familiar, but has enough going on to help it stand out.

Gazing through a lens, I invent as much as I reveal | Psyche Turning Points

For years I watched people through cameras and screens, filling in the blanks and calling it truth

How Liminalism Became the Defining Aesthetic of Our Time

This crowd-curated digital movement is one of the most pertinent and explicit reactions to our particular slice of dystopian late capitalism.

Trevor Paglen and Holly Herndon on Making Art with AI and What the Discourse Is Missing

The artists talk process, slop, and why optimism and pessimism don’t quite cover it.

cosmogenesis

Publishing studio exploring technology, consciousness and art.

David Hawkins-Weeks (@hawkinsweeks.eurosky.social) - Leaflet

Read and publish on the Atmosphere

What Art Does: An Unfinished Theory

Why do we need art? What Art Does is an invitation to e…

Copy of Digital Masquerade

The Digital Masquerade: Unmasking AI’s Phantom Journalists By Tony Eastin and Sandeep Abraham, CAMS

Weird Studies

Professor Phil Ford and writer J. F. Martel host a series of conversations on art and philosophy, dwelling on ideas that are hard to think and art that opens up rifts in what we are pleased to call "reality."

Refugees and Searchers Go to the Movies – First of the Month

Spielberg lets the screen go black for about five seconds. The communal experience of film-going then becomes a shared nightmare. With the screen unlit, the emergency lights in the theater are the only source of illumination. If you jump (as I did), you fear for a moment that the movie has stopped—the reel fallen off its plate, the fantasy interrupted by unfunny, drop-dead reality. “Are we still alive?” whispered by Farrier’s daughter Rachel (Dakota Fanning) is an inquiry that invokes our own doubts about our safety, our capacity to dream, our possible awakening to dire reality. It recalls how many people felt after 9/11. Are we dreaming? Are we still alive? Bringing everyday experience and existential contemplation together so forcefully, Spielberg joins the ranks of the most audacious avant-garde filmmakers: He turns the popcorn movie experience into a consideration of the abyss.