Lafayette Anticipation associate curator Anna Colin talks to artist Tyler Coburn about Ergonomic Futures, a speculative project engaged with art, design, science, anthropology and writing. In this interview, Coburn discusses the research, production process and network of collaborators of a multilayered project ultimately concerned with the futures of humankind. Anna Colin: When one comes across your museum seats Ergonomic Futures (2016—) in contemporary art exhibitions—and soon in natural history, fine art, and anthropology museums—they look… [read more »]
Global .Wav contributor Fatima Al Qadiri is presently on a global tour of leisure, but she didn’t forget to send us a dispatch straight from her WiFi at Lake Como this week. We can’t wait to see what she’s found for us when she returns! – Editors
Germany, 1995 – In 1995 the seminal film Hackers was unleashed onto the general public. In Germany that same year, the über-cheesy techno ensemble, Das Modul, launched their exceptionally titled track “1100101.”
That’s pronounced ” eins, eins, nul, nul, eins, nul, eins,” in case you were wondering.
I’m so impressed. Only Germans can get away with such blatant disregard for words in their song titles. Something of this caliber would never work in America. Although Das Modul’s music is pretty 5H1T, their videos follow the same blissful early internet theme as Iain Softley’s groundbreaking film: PC windows multiplying into a chat room vortex of sexy, dancing avatars.
Check out DIS.DUMP.FM for a similar vibology.