AI art and biohacks that ponder post-humanism, CGI fever dreams that (further) distort reality, software that speaks truth to power: HOLO Readers enjoy full access to our weird and wonderful discoveries at the nexus of art, science, technology, and culture. Join us and support indie publishing in the process.
“Unfortunately it has become too late to save Arctic summer sea ice. This is now the first major component of the Earth system that we are going to lose because of global warming.”
– German climatologist Dirk Notz, on the inevitability of breaching a major climate tipping point. In a new paper published in Nature Communications, Notz and team project that, even with dramatic emission cuts, Arctic sea ice will fully melt during the summer months as soon as the 2030s—much sooner than expected.

London-based digital artist dmstfctn launches GODMODE EPOCHS (2023), a “multi-player AI frustration game.” Set among the lined shelves of an infinite, simulated supermarket, players race against time to train an AI to identify products. When frustrated, the AI seeks refuge in its memories—a separate game map where players can collaborate to cheat. The “reciprocal training program”—players train and are trained—is part of a long-term research project supported by the Alan Turing Institute and Serpentine Galleries.

“We may one day possess tools that keep us plugged in all the time, yet trick us into believing we’re not. The beauty of these ugly goggles is that they show what’s really going on.”
– Tech reporter Molly Roberts, on Apple’s newly announced Vision Pro mixed-reality goggles. “We will be able to be not present while also being present—to fail to pay full attention to what’s around us without technically having to look away from it,” Roberts writes. “Welcome to the future.” [quote edited]
“Thus far, this has been an extractivist discussion. Instead of only focusing what we festival makers need, maybe we should also ask ourselves what we can give.”
– Naomi Johnson, Executive Director of imagineNATIVE Toronto, the world’s largest indigenous film and media arts festival, during the first Future Festivals Lab at NEW NOW in Essen (DE). Over the next 18 months, the MUTEK-led think tank brings together seven organizations from Canada, Germany, and Mexico to prototype festival futures.

“Broken Machines & Wild Imaginings” opens at Akademie der Künste, Berlin, concluding JUNGE AKADEMIE’s AI Anarchies fellowship program with an evocative exhibition. Ten fellows including Sarah Ciston, Petja Ivanova, Sahej Rahal, SONDER, Aarti Sunder, and Natasha Tontey present new works that counter extractivist logic, algorithmic violence, and techno-solutionism. In Rahal’s video installation Anhad (2023, image), for example, an audio-reactive AI program interacts with the cacophony of the outside world—and falters.

Akil Kumarasamy Parses Quantum Plotlines and Large Language Models
Wade Wallerstein Decodes Digital Art’s Myriad “Distant Early Warnings”
Maarten Vanden Eynde Encapsulates Human Fallibility for the Ages
Miriam Arbus Cultivates “Seed Systems” That Nurture New XR Ecologies
Martin Bricelj Baraga Builds Monuments to the Sky’s 53 Shades of Blue
Claire L. Evans Assembles Fifty Key Sci-Fi Voices to “Terraform” Futurity
Kyriaki Goni Weaves Counter-Narratives to Colonial Cosmologies and Space Expansionism
Yuri Suzuki Broadcasts the “Sound of the Earth” at Triennale Milano and in Your Headphones
Megan MacLaurin Foregrounds “The Air We Share” by Taking GIF Art to the Streets
Jeremy Bolen Casts Haunting Artifacts That Capture the Future-History of the Climate Crisis
A new HOLO format, Dossiers are web-based research publications that contextualize and expand upon cultural initiatives in real-time

Dossiers are dedicated HOLO folios that augment and complement exhibitions, residencies, conferences, and educational initiatives. Realised in collaboration with artists, writers, curators, and cultural partners, they are designed to document process and disseminate knowledge through a variety of engaging formats—essays, interviews, artwork—all within a focused online magazine. If you’re interested in working with us on a Dossier, please get in touch via our Contact page.

AI art and biohacks, CGI fever dreams, software that speaks truth to power—join us and receive full access to HOLO’s daily discoveries in critical creative practice.
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Questioning our problematic faith in AI, Nora N. Khan and fifteen luminaries measure the gap between machine learning hypotheticals and the mess of lived experience.
An inquiry into the nature of randomness—how science explains it and how culture (and art) emerges from it
Parsing emerging representational and perceptual paradigms in the wake of the Snowden revelations and nascent computer vision technologies
An illustrated field guide on plastiglomerates, robot dogs, antenna trees and other hybrid creatures (and objects) of our time
The first three instalments of ‘anticipatory’ designers N O R M A L S eponymous graphic novel series delineate a dark and unsettling world of hyper-mediated futures.

Emerging trajectories in art, science, and technology (since 2012)

As an editorial and curatorial platform, HOLO explores disciplinary interstices and entangled knowledge as epicentres of critical creative practice, radical imagination, research, and activism

“I feel the language and concepts I’m working with don’t comfortably fit within the normal discourse about art and aesthetics. CERN’s physicists and engineers understood the tools I was using and I was able to talk about my goals. I just couldn’t have that kind of dialogue in an art context.”—sound artist Bill Fontana on his CERN residency (HOLO 2, p.206)

There is a space between a computer’s command line interface and the contemporary art museum, the legalese of Silicon Valley’s terms and conditions and the social contract, the whoosh of a particle accelerator and the romanticized “a ha” of artistic inspiration. For much of the twentieth century these gaps were chasms, separating science and engineering from the humanities and siloing them off; today, these gaps are narrowing and disciplinary interstices are the spaces to watch. Increasingly aware of how much technology governs not only entrenched fields of study but every aspect of modern life, we’ve come to realise that things are deeply intertwined.

HOLO emerged in 2012 to explore these entanglements—first with a periodical, now across an expanded platform. Set up in the grey zones between art, science, and technology, it frames scientific research and emerging technologies as being more than sites of invention and innovation—as epicentres of critical creative practice, radical imagination, and activism. The artists and designers working with related materials—algorithms and microcontrollers, meteoroids and fungi, data and archives—aren’t just updating notions of craft for the twenty-first century, they are researchers and cultural critics.

As an editorial and curatorial platform, HOLO occupies the same eccentric vantage points as these hybrid creative practices and puts them into perspective. Working across multiple avenues—print and online, events and production—HOLO collaborates with contributors and cultural partners to facilitate fruitful dialogue between domains and bring new voices into the conversation.

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Over the last decade HOLO has curated more than 500 cultural initiatives worldwide

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