A mass of speedo-clad elastic men floating in space—just human enough to be unsettling. They don’t move of their own volition but, rather, succumb to the physics of zero gravity, writhing and contorting around each other. It’s as as if an astronaut has sneaked her childhood collection of Stretch Arm
When the internet was born the French artist Anne Horel was watching. In fact, I think it swallowed her. She exists now mostly as images stuck in looped emoji dances that are scattered around the web. Where she goes, rainbow fonts and pizza slices follow, spiraling off the screen in a ditz as they m
As I tool around with the cascading confetti waves of web developer Jaume Sanchez Elias’ Polygon Shredder, I feel a bit like Moses parting the red sea. Except this sea isn’t just red, but also blue, yellow, white, and I think I saw a little chartreuse in there. If you ever had a pet tornado in the ‘
A building constructed of concrete slabs with a sign reading “Hyper GIF 3D Gallery” awaits you beyond pixelized trees. An open door beckons. Within it, a description of the current show declares “Akihiko Taniguchi, solo show of GIFs.” keep digital art within a virtual space This is the entrance to
Richard D. James (better known as Aphex Twin) has often seen his songs associated with disturbing, warped bodies. In the early ’90s, the label he co-founded and that produced his music, Rephlex Records, described his style as “braindance.” Pitchfork‘s Paul Cooper wrote about this terminology in 2002
