The writer on his short story collection, Hybrid Creatures, and using mathematical equations, HTML code, music symbols, and propositional logic to build narratives.
On visits home I see gifts ripped open, and the confetti. / How much candy is in lil’ piñata? My niece asks. / So much candy he can fly.
Painting with a Roomba and International Klein Blue.
I just said I didn’t know / and now you are saying / you aren’t sure I’m cool / that’s cool
WWW highly enjoys collaborations and co-creation and is currently involved in the project Perfect Users: a remix group that reflects on using-in-general and digital anthropology (or not).
Four generations of unhappiness populate the French auteur’s latest.
The artist talks about reduced attention spans, nature, and being separated from our electronic devices.
The artist talks about the genesis, composition, and execution of a recently completed work.
“I admire my characters for their ability to do something that I would find far too embarrassing to do myself. Fiction can get us to experience what we might do if we were braver. Or dumber.”
Like his older compatriot Mark Leckey, Atkins deftly utilizes syncopated montages of sounds and filmic images to create disturbing and disorienting virtual realities.
Slow-cooked verbiage in Flarf: An Anthology of Flarf
Satirizing the “late-capitalist late-patriarchy” in Catherine Lacey’s The Answers
Risk, a new documentary by Laura Poitras, follows the Wikileaks founder as public perception sours.
Eduardo Williams’s debut feature takes us around the world on an ethnographic tour of labor, leisure, and logins.
Several years ago, I began reading books about how to write books.
An architect talks about her data maps of urban conflict from Brooklyn to Aleppo.