Michael Candy is an international artist known for kinetic sculptures, interactive installations, and video works that challenge the socio-political implications of contemporary technology. His ...

The title of the exhibition Listening Eyes was inspired by a dream about a conversation between a mole and a fish. The mole cannot see, and the fish has no voice — each lacks what the other possesses.

“Imagine if we could begin our little life all over again. Imagine if it was all nothing more than some electronic game. Imagine if I knew then what I know now.” —Deus Ex Machina, Automata, 1984 If ...

Courtesy grouphab.it and Harm van den Dorpel. An extended and altered version of this text will be published in... You Are Here: Looking at After the Internet (Cornerhouse Books 2014), edited by Omar ...

The latest in a series of interviews with artists who have developed a significant body of work engaged (in its process, or in the issues it raises) with technology. See the full list of Artist ...

Back in March, Rhizome relaunched its Microgrant program, inviting proposals for Browser-based projects and pitches for articles about works of born-digital art in the Rhizome ArtBase. Our staff ...

For nearly 30 years, Rhizome has supported digital art that has helped to shape contemporary conversations about technology and culture. In an era of platform monopolies, algorithmic manipulation, and ...

As Slavoj Žižek and others have argued, the credit sequences designed by Saul Bass for Alfred Hitchcock's unofficial trilogy of late masterpieces—Vertigo (1958), North by Northwest (1959) and Psycho ...

The Good Life (Enron Simulator) by Sam Lavigne and Tega Brain was awarded a 2016 Rhizome Net Art Microgrant. The artwork recreates the experience of receiving all 500,000 emails from the Enron email ...

Created by Casey Reas and Ben Fry, Processing is an open source programming language and environment for people who want to program images, animation, and interactions. It is used by students, artists ...

I first began to realize the potentiality of my glitch body at the age of thirteen. If not thirteen, maybe even a few years younger—eleven, even—when I signed up on Yahoo! under the handle of ...

This essay was originally published November 2022 as a chapter in the book Documentation as Art, edited by Annet Dekker and Gabriella Giannachi. In the preservation of digital art, documentation is ...