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Andreas Rau‘s Symphony for n Metronomes (2025) launches on Verse. The NFT project pays homage to György Ligeti’s Poème symphonique (1962), a piece made during the composer’s affiliation with Fluxus through a blockchain-based generative system. Each minted NFT adds a new metronome to an evolving browser-based rhythmic performance synchronized via UTC time, with collectors who acquire multiple pieces gaining enhanced visibility (and solos) in the ongoing performance.
“At this point you’re beyond preservation, and you’ve turned the game into something that doesn’t just live on, but can actually grow with new generations of players.”
“What if the real challenge of AI isn’t how museums adopt technology but how they redefine their purpose in a world where time itself is restructured?”
“It looks like a mote out here, a gesture not of creative power but of impotence in the face of geologic time.”
“Artists, with their unique attunement to material fallibility, share a kinship with Butler’s protagonist, whose condition of hyperempathy is a metaphor for the role of the artist at the end of the world: to absorb the pains and pleasures of their environs and translate them into something new.”
“Once again, the future of technology is being engineered in secret by a handful of people and delivered to the rest of us as a sealed, seamless, perfect device.” LittleBits founder Ayah Bdeir calls for a “revenge of the makers” against proprietary AI hardware. Championing open-source alternatives like Hugging Face’s LeRobot platform over OpenAI’s forthcoming venture with Jony Ive, Bdeir argues that community-driven projects offer a more democratic path forward compared to Silicon Valley’s black boxes.
“Canyon, at least a decade in gestation, signals that born-digital art is finally (maybe) central instead of a sideshow. An institution imagined for years as video-focused begins with the inclusion of net art and video games.”
Kickstarter and Metalabel co-founder Yancey Strickler announces his latest initiative for empowering creators: Artist Corporations (A-Corps) is a proposed legal structure that “enables creative people to be real economic actors” by combining the best of existing structures: legal protection (LCC), tax benefits (S-Corps), equity sharing (C-Corps), and access to grant funding (nonprofits). Up next: passing the needed U.S. state laws.
“If you look at one of the Jucul khipus and you see that there were a lot of offerings to Paccha-cocha that year, you know that this was a time of drought since the offerings were given to increase the rain.”
“Online collections are not resourced to continue adding more servers, deploying more sophisticated firewalls, and hiring more operations engineers in perpetuity,” warns the GLAM-E Lab in its new report “Are AI Bots Knocking Cultural Heritage Offline?” The study reveals a growing crisis where AI companies are extracting value from cultural commons with swarms of bots that force museums, libraries, and archives to bear the infrastructure costs—and threaten public access to digitized heritage altogether.
“If you really wanted to boil down what artworks do, they’re essentially people having experiences between their consciousness and their physical selves.”
“MOMENTUM 13: Between/Worlds—Resonant Ecologies” explores sound as a portal between human and non-human worlds in Moss (NO). Featured artists include Ralf Baecker, Natasha Barrett, Carsten Nicolai, and Jana Winderen and 36 others who curator Morten Søndergaard tasks with “revealing the vibrations that shape our shared spaces.” HC Gilje contributes The Alby Critters (2025), a follow-up to Wind-up Birds (2008) that puts robotic woodpeckers and sound-making objects in conversation with the Albyskogen forest.
“An artistic intervention into a systematic problem can feel like putting a fresh coat of paint on a car whose check engine light is on.”
“The Geopolitics of Infrastructure” probes the aesthetics and power relations of transnational systems at Museum of Contemporary Art Antwerp (M HKA). Curated by Nav Haq, it features Tekla Aslanishvili, Jean Katambayi Mukendi, Jonas Staal, Zheng Mahler and 10 others exploring infrastructure “as both facilitator and destroyer.” Assem Hendawi’s film Everything Under Heaven (2021), for example, traces Egypt’s post-1952 infrastructural ambitions as national cosmology and contested sovereignty.
“It will have to answer new questions for the younger audience interested in art, who maybe only experience it through social media.”
Migros Museum of Contemporary Art Zurich continues “Accumulation—on Collecting, Growth and Excess” with its second sequence, examining the side effects of unchecked economic growth. Featured artists include Rindon Johnson, Mimi Ọnụọha, and Raqs Media Collective exploring fast fashion, digital infrastructures, and colonial narratives. Selma Selman’s Motherboards (2023), for example, documents the artist and her family extracting gold from e-waste, recasting stigmatized labour as valuable practice.
Wearable AI that’s carbon-neutral and socially acceptable? Damjanski’s A.I. Computer Vision Pin (2025) is a limited edition enamel accessory that reminds us of the pervasiveness of powerful image recognition technology. Inspired by the vibrant object detection sculptures he created for his 2024 solo show at Berlin’s Office Impart, the New York-based internet artist fun-sized the idea into something we can (proudly) wear.
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