Exhibitions, Research, Criticism, Commentary

A chronology of 3,585 references across art, science, technology, and culture
“Please take a moment to appreciate the fact that, in the year 2025, there are automated bots that blast out, to no one in particular, serious-sounding financial analysis about an 8-year-old conceptual art project.”
– Canadian artist Mitchell F. Chan, on the relentless NFTAlertX trading bot being bullish on his seminal blockchain classic Digital Zone of Immaterial Pictorial Sensibility (2017). “I wonder if this tweet is a more succinct artwork than anything I’ve ever made,” Chan quips.

Botto DAO, the decentralized organization governing AI artist Botto, announces a major autonomy upgrade: In its fifth year, Botto now features memory and reasoning capabilities, enabling it to learn from past work, past collaborations, and its wider cultural footprint. A new platform, Botto Studio, allows stewards to observe the AI’s creative process in real-time, provide feedback, chat with fellow Bottonians, and earn community rewards. Botto DAO: “Our little robot artist is growing up so fast.”

Deprecated API keys, banned bots, revoked permissions: Everest Pipkin’s solo exhibition, “Hostile Platforms / Beloved Margins,” at Berlin’s panke.gallery reveals the web’s fragility under platform capitalism. The retrospective of browser-based works, some live, some dead, some waiting to fail, reminds us that connections of personal meaning last, even if platforms crumble. “The history of the internet is a history of people constructing homes together, even temporarily in the margins,” Pipkin writes.

“Every day, Matthew Plummer-Fernandez’s Petita Tatata would generate and recite beautiful abstract poetry and post to SoundCloud, and my bot, Petita DumDum Techa, would download, improvise music over it, and reupload.”
– Digital artist Memo Akten, reminiscing about the mid-2010 bot wave—a “fun” era of creative automation long before agentic AI. In 2016, Petita Tatata and Petita DumDum Techa were chained into a “bot band,” generating “beautiful new surprises” every day, Akten writes on social media. “Who wants computers to make music that sounds human. That’s so boring.”
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