21/09/2021: Agnes Scherer’s “Notebook Simulations” Supersize Laptops at Kunstverein Düsseldorf

20/09/2021: Nora N. Khan Reveals First HOLO 3 Chapter Exploring “Enchantment, Mystification, and Ways of Partial Knowing”

18/09/2021: Postcommodity Remind Us That “Time Holds All the Answers” at Remai Modern

16/09/2021: Farhad Manjoo Yearns for the Quaintness of Google Glass, Laments “Face Computing”

15/09/2021: “Vers Un Imaginaire Numérique” Presents a Comprehensive Archive of U.S. and Canadian Computational Art & Design at UQAM

15/09/2021: “Geofenced” Scatters AR Projects Around Toronto’s Dupont & Geary Avenue Neighbourhood

14/09/2021: Out Now: The Truth and Other Stories

14/09/2021: Blockchain Sleuth Reveals OpenSea Employee Engaging in Insider (NFT) Trading

12/09/2021: Nick Montfort’s “Flag” is BASIC

11/09/2021: Huidi Xiang Logs Her Playbour in “How to Be an Artist in Minecraft”

11/09/2021: Claire Evans Signs off on the MUTEK Recorder

10/09/2021: That Cao Fei’s “Future Is Not a Dream” Is Conveyed by Trio of Early Works at Espace Louis Vuitton München

07/09/2021: “Proof of Art” Exhibition Catalog Tells Short History of NFTs

07/09/2021: Agnes Meyer-Brandis’ ‘ONE TREE ID’ Generates a Perfume for Communicating with Plants

07/09/2021: Geneticists Identify Gene Responsible for “Spots, Stripes and Everything in Between” on Cats’ Coats

06/09/2021: Alex Schweder’s “The Sound and the Future” Grooves Out to Slowed Down Techno

04/09/2021: Indestructable Santa Luzia Meteorite Becomes De Facto Mascot for 34th Bienal de São Paulo

03/09/2021: 4156: “Larva Labs Made the ‘Citizen Kane’ of NFTs”

01/09/2021: Emily Watlington on Alison O’Daniel’s Map of a Space “Chock Full of Incomprehensible Sounds”

01/09/2021: Out Now: Flash Art #336