Local examples of immersive aesthetic and sensual experimentation as forms of cultural experience.
When an opportunity to celebrate USCO’s pioneering work came along, I just had to curate it.
With Vibrations: A Sound Experience, Boston CyberArts continued to live up to its demanding mandate — to expand our artistic horizons.
Technology is becoming a tool for artists to mastermind aesthetic and social interventions.
Membrane: Biology and Art is a wonderfully conceived and curated show.
George Fifield has been pushing the conceptual ball called contemporary digital and intermedia art up a hill for decades.
Otto Piene’s art is at once appealing, accessible, and yet somehow unworldly: joyful mystery yoked to dynamic playfulness.
Whether art can comfortably exist in this thoroughly commercial frame is a question for the ages. Let’s say that whether this show succeeds is firmly in the eye of the beholder.
None of these games engendered any suffering at all. They were already pre-designed for failure; a player has no chance of success. But isn’t part of the pleasure of gaming the repeated failures that, over time, lead to successes?
The more cerebral visitor may leave “Collision18:present” wondering if, like the classic definition of what constitutes pornography, ‘cyberart’ is firmly situated in the eye of the beholder (or of the curators).