At the intersection of dance and creative code, Maya Man creates browser-based experiences that transform human movement into data, examining our intimate relationships with technology.
Salome Asega told us about her hyper-real upbringing in Las Vegas, the trials of working within the uncharted territory of art and tech, and the power for participatory work to destabilize the long-held role of the artist.
I was eight years old when I watched my first ballet performance, the Nutcracker, at an old, musty local theater. When the show ended, my mom asked if I wanted to be a ballerina, and to her surprise, I cringed. There was no way I could be a ballerina, I insisted. My body, short and stubby, could nev
In 2013, the Sri Lankan newspaper The Sunday Times interviewed Avinash Kumar, an experimental VJ (video jockey) from India, about a project he was heading: a short story that became a graphic novel that became an album with his audio-visual collective BLOT!, which then became something else altogeth
I’ll admit upfront that I’m a terrible dancer. Not the kind of terrible that is actually cute. I’m talking the real, awkward kind of terrible. I blame it on being tall. It’s just not easy to make limbs in these proportions move cohesively the way I’d like them to. Maybe that’s why An Evening of Mode