# The Intersect > The Intersect is a newsletter, and examines the reciprocal influences of technology and the arts — analyzing how tech advancements shape artistic expression and how creativity fuels technological progress. Public Ghost content for AI and LLM tooling. This file includes a bounded export of public pages first, then recent public posts. Append `.md` to any post or page URL to get the content in Markdown (for example, `/example-post.md`). ## Pages ### About URL: https://theintersect.art/about/ Last updated: 2026-07-13T19:25:57.000Z *Art in Tech, Tech in Art.* ## What is The Intersect? The Intersect is a newsletter dedicated to exploring the dynamic relationship between technology and the arts. It examines how advancements in technology shape artistic expression and how creativity, in turn, fuels technological progress. The newsletter offers a balanced perspective, addressing both the artistic and technological dimensions in this evolving fusion. ## Who is behind The Intersect? The Intersect is created and managed by Juergen Berkessel, an artist, musician, and digital strategist based in Bradenton, Florida. Juergen's expertise spans graphic design, user experience, and computer programming. His multidisciplinary background informs the thoughtful and nuanced content of the newsletter. As the founder of Polymash, a creative digital strategy agency, Juergen has a deep understanding of the intersection of art and technology, which he shares through this publication. ## What can you expect? The newsletter provides: - **Analyses and insights** — exploring how emerging technologies, from AI to digital tools, are influencing traditional and contemporary art forms. - **Creative inspiration** — showcasing innovative projects and ideas that highlight the synergy between technology and the arts. - **Practical applications** — discussing ways in which artists and technologists can integrate these developments into their work. - **Critical perspectives** — offering a balanced view that celebrates the potential of this intersection while addressing its challenges and implications. ## Who is the audience? The Intersect is tailored for individuals who exist at the crossroads of the artistic and technological worlds. It appeals to digital artists, technologists with a creative streak, innovators working at this intersection, and anyone interested in how these fields inform and enrich each other. ## Why was The Intersect created? The newsletter was born out of a need to foster meaningful discussions around the fusion of art and technology. Its mission is to break through the polarized and superficial narratives that often dominate these conversations. By offering depth and clarity, The Intersect aims to build a community of like-minded individuals who are passionate about exploring this evolving space. ## How to engage Subscribe to receive each issue — a curated collection of stories, analyses, and updates — right in your inbox. Every issue is structured to keep you informed and inspired without overwhelming you. You can also browse the full archive of past issues any time. ### Podcast URL: https://theintersect.art/podcast/ Last updated: 2026-07-14T01:52:55.000Z ![The Intersect of Tech and Art — podcast cover](https://theintersect.art/content/images/2026/07/podcast-cover-600.jpg) Curious about how technology and art collide, spark, and sometimes totally confuse each other? **The Intersect of Tech and Art** is your backstage pass to the wild, weird, and wonderful world where digital innovation meets creative expression. The audio companion to the publication — the same restless curiosity about where technology and the arts collide, now in a form you can take with you. ## What you’ll hear Every episode picks up the threads running through the publication and pulls on them: the innovations reshaping how we make and experience art, the creative work reshaping how we build technology, and the strange, generative space in between. It isn’t a recap. It’s the part of the story that only really lands when it’s spoken aloud — the nuance, the argument, the second thought a paragraph never has room for. ## Why listen - **It goes deeper than the page.** Ideas get room to breathe, unfold, and occasionally surprise you. - **It fits your life.** Press play while the rest of the world needs your eyes elsewhere — on the road, on a run, in the in-between moments of a day. - **It stays curious.** No hot takes with an expiration date — just durable questions about the world we’re building and the culture building us back. If the meeting point of technology and the arts is the thing that keeps you up at night — or wakes you up in the morning — this is the show that keeps you company there. ## Listen and subscribe Find The Intersect wherever you get your podcasts, and press follow so every new episode arrives the moment it’s released. 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If you access the site from outside those countries, you understand your information may be processed where our providers operate. ## Changes to this policy We may update this Privacy Policy from time to time. When we make material changes, we will revise the effective date shown at the top of this page. ## Contact Questions about this policy or your data? Email **hello@theintersect.art**. ### Contact URL: https://theintersect.art/contact/ Last updated: 2026-09-02T19:17:10.000Z Have a question, a story tip, or an idea to share? Send us a note using the form below and we’ll get back to you by email. Name Email Subject Your question or inquiry Send message ### Archive URL: https://theintersect.art/archive/ Last updated: 2026-07-15T03:50:25.000Z Browse everything The Intersect has published, organized by type. New sections open up as we publish into them. ## Issues Our weekly Art×Tech roundups — the complete back catalogue. [Browse all issues →](https://theintersect.art/tag/issues/) ## Articles In-depth, standalone pieces. *Coming soon.* ## News Shorter dispatches and updates. *Coming soon.* ## Press Press mentions and coverage of The Intersect. *Coming soon.* ### Subscribe URL: https://theintersect.art/subscribe/ Last updated: 2026-07-15T14:13:26.000Z A weekly, curated look at where art and technology keep colliding — written by someone who uses these tools daily and still argues with half of them. Whether you think AI is hollowing out creativity, or quietly contributing to it, this is an honest version of that conversation. ## Why bother with another newsletter - **Curated, not aggregated.** Five to eight stories a week, hand-picked and argued with — not scraped, ranked, and flung at you. The ones actually worth your attention, and why. - **The tension, not the takeaway.** Most issues end on a question rather than a verdict. If you want tidy conclusions about AI and art, there are louder newsletters. This isn't one. - **Skeptical, not cynical.** The hype gets questioned; so does the panic. I use these tools daily and still find them unsettling — that ambivalence is rather the point. ## What lands in your inbox Once a week. Never more. One email of five to eight stories — AI and creativity, photography and visual art in the algorithmic age, design versus sameness, art-and-science crossovers, and the money and politics quietly shaping all of it — each with a few lines of commentary, usually a question I haven't fully answered. There's a companion podcast too, for when reading feels like a stretch. > It's a small list, but a stubbornly loyal one: close to half of subscribers open every single issue — comfortably above the industry norm — and they click, reply, and argue back. Make of that what you will. ## Who it's for For artists who suspect AI is a threat, technologists who suspect it's a gift, and the growing number of people who suspect it's quietly both at once. If you care more about intention than output — about why a thing was made, not just how fast — you'll feel at home. ## The obvious questions ### Is it free? Yes. ### How often will you email me? Once a week — I said that already, but it bears repeating in an age of "daily" everything. ### Will you spam me or sell my address? No. One email a week, from me. Unsubscribe in a single click whenever you like — no guilt-trip, no "are you sure?" theatre. ### Is there really a podcast? There is — a companion one, for when your eyes need a rest. ## A few recent issues Don't take my word for it. Here's what the last few weeks looked like — skim one, then add your email up top if we seem to get along. ## Posts ### Built to Last, Designed to Vanish URL: https://theintersect.art/issues/86/ Last updated: 2026-09-11T18:21:42.000Z There's a hard disk sitting on my desk right now with a bunch of old work on it, but the hard disk is broken and I cannot restore it. Coming to think of it, I have a drawer full of hard drives from old Macs and Windows systems, and they have my early music experiments from the 1990s, a lot of guitar work from over the years, digital photos, and a lot more. Some of it I was able to restore, but some of that work is gone forever. I was pretty optimistic about all things digital in the early days, and I thought of it as a much more permanent form of storage. But I was wrong, and digital is way more fragile than I expected. I learned photography with a pinhole camera, and those images still exist and look the same as the week I took them. Photographers from the 1900s used glass plates and silver prints, and these are also still preserved to where we can still see them perfectly. Yet with digital, I have tens of thousands of images sitting somewhere on Dropbox or in a cloud account or on hard drives, and they could disappear any minute with a hard drive crash or a lapsed Dropbox payment. I don't question whether digital work is worth saving. It is. But I do wonder whether our infrastructure is even capable of saving it permanently. When you die, who is going to renew your domain subscription, your online storage, your cloud presence? Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *ART NARRATIVES* --- ![A small wooden organ stands on a plinth in a roped-off area within a worn brick cathedral.](https://theintersect.art/content/images/2026/09/61da55c5-manual-1788360688932.jpg) The organ at St. Burchardi Church in July, 2026 · Credit: Matthias Bein/dpa via Getty Images. ## The John Cage Piece That Won't Finish Until 2640 There's a small church in Germany that's been playing a piece of organ music since 2001, and on August 5th of this year the organ changed chords for the first time in over 2 years. This story has been recently featured by Artforum, and it is a performance of the famous composer John Cage. The composition is called "Organ² / ASLSP (As Slow As Possible)" at the St. Burchardi Church in Halberstadt, Germany. The piece runs for 639 years, so it'll finish in 2640. > ***My favorite little detail about this whole story is the fact that it's making money and selling tickets for the finale at $3,000.*** Mind you, that is for a performance in 2640\. So these are inheritable tickets passed on from generation to generation. With the hope that your great-great-great-grandchildren will get to hear the finale. Worrying about and designing for artwork's permanence is nothing new for artists - and people like Cage planned for his performance to finish in 2640. I myself haven't even planned for my next Cloud storage renewal invoice. [Read the original article →](https://www.artforum.com/news/639-year-john-cage-piece-first-chord-change-in-900-days-1234756726?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-86) Cage handed his permanence to an institution that outlives everyone. Most artists never do. So who catches a website when the domain lapses or the login dies with its owner? Someone, it turns out, is quietly trying. --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![When Your Website Is Your Legacy, Who Keeps the Lights On?](https://theintersect.art/content/images/2026/09/eec225e6-reposition-1788360102912.png) ## When Your Website Is Your Legacy, Who Keeps the Lights On? An artist's website is rarely just a business card anymore. It is a portfolio, a CV, a record of how the work changed over decades, sometimes a piece of art in itself. And it can vanish overnight: an expired domain, a server migration, a login nobody remembers after the artist dies. A blog post at the Internet Archive lays out how their Collaborative ART Archive, CARTA, is quietly saving these sites before they blink out. What I love about CARTA is that it does not only chase famous names. There is outreach to artists and arts organizations, sure, but the public is invited in too. You can nominate a site, or just submit your own. I have done a few of these over the years, and honestly it is a small, real comfort. Knowing your work sits somewhere safe, even if the live site goes dark someday, takes off a weight you do not notice until it lifts. > ***"This could not come at a better time as I start to work on my artist legacy and I'm thinking of ways that my website can live on once I pass and won't be able to pay the fees after a while."*** That line, from one artist quoted in the piece, is the whole thing in miniature. We build these digital rooms and assume they stay lit. They do not. When was the last time you checked whether your own life's work would survive a lapsed credit card? [Read the original article →](https://blog.archive.org/2026/08/25/artistswebsites?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-86) A saved website assumes there was one clean place to save from. My work never lived like that. It scattered across drives and half-remembered accounts, which is exactly the mess Sam Meister sets out to name. ![A hand with red painted nails holding several SD and microSD memory cards, including Sandisk and Kingston brands.](https://theintersect.art/content/images/2026/09/3839db11-2.jpg) A physical archive of your digital materials can save your work from disappearing ## The Cloud Ate My Homework, and Probably Yours Too As I mentioned earlier, I've had my share of hard drive crashes and lost work as a result. So I came across a guide on creating your own digital archive at Arts Midwest, written by Sam Meister. The guide is a 3-part series, perfect for people like me. I don't care what kind of artist you are, there's a pretty good likelihood that some of your work is in digital form. Even painters have on-line portfolios or scans of their work. If you're of a certain age, some of this work might live on older computers that no longer boot, some might be in the cloud, some on thumb drives. > ***So if you've ever lost anything digital, you may realize how ephemeral and fragile digital information can really be. It's here today but may easily be gone tomorrow.*** What I appreciate about that Meister's guide is that it does not moralize. Hard drives last about five years. Formats go obsolete. We delete things by accident. None of this is a failure of character. It is physics and neglect. So if you, like me, never get famous enough for someone else to build your archive, here is the guide on how you build one for yourself, and for the people who might want it later. [Read the original article →](https://artsmidwest.org/resources/guides-tools/the-cloud-ate-my-homework-why-artists-and-arts-orgs-need-a-digital-archive?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-86) Meister is calm about drives that stop spinning; it's just physics. But the physics gets stranger when the media itself rots in place, and a decades-old anti-piracy slogan comes back begging you to copy that floppy. ![The Floppy You Should Have Backed Up Is Now a Preservation Emergency](https://theintersect.art/content/images/2026/09/6c0c3309-2.jpg) ## The Floppy You Should Have Backed Up Is Now a Preservation Emergency In the early '90s, during the music piracy days, there was a campaign to try to scare kids away from pirating music, and that campaign was called "Don't Copy That Floppy!" In my research about data preservation, I came across a piece written at Hack a Day by Tom Nardi: "Copy That Floppy!", an ironic twin concept launched by the University of Cambridge, of all institutions. For me, floppy disks were sort of the canary in the coal mines on this. Floppy disks readily failed and were pretty flimsy. But for me, the fragility of digital storage somehow didn't seem to transfer to hard drives or computers. Until they started failing years later, I thought of them as pretty permanent. But now, in a later stage of life, I've got tens of thousands of images sitting in the cloud. Once I'm gone and no one is paying the storage subscription fees, all that photography archive evaporates. I know of some photographers that select their best work and create traditional prints or have someone do it because those physical objects at least don't require a subscription. How are you planning to hand down the pictures nobody printed? [Read the original article →](https://hackaday.com/2026/07/07/its-now-imperative-that-you-copy-that-floppy?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-86) --- *THE LAST WORD* --- I didn't mean for this issue to be morose. There is a valid point of view to simply embrace impermanence and let it all vanish. After all, I'm not a famous artist, and this preservation desire may simply be vanity beyond my own death. For now, I still don't have a real plan on what to do once I'm gone and no-one is there to pay for the cloud storage subscriptions. If anyone out there has thought about this and has an opinion, a plan or tips beyond the same guilty intention, I'd love to hear from you. Best, Juergen ### Prove You're Human (And Dumb It Down to Do It) URL: https://theintersect.art/issues/85/ Last updated: 2026-08-26T17:07:46.000Z I just ran an essay, which I had written 100% manually, through an AI detector. I did this out of curiosity, with the Substack and Pangram integration story breaking in the last few weeks. Though I wrote every word myself, Pangram rated it as 80% AI-written. My first instinct was to see how I could avoid that score, but my "re-writing" improvements turned out to make the writing much worse. Instead of just making my own edits, I also tried several "humanizer" platforms that have emerged. To Pangram's credit (from an AI detector POV), none of these really worked, but all of the humanizer platforms created terrible writing output. > **So we're in this strange place now where the AI detectors are getting better, the humanizers make the writing much worse, and real people writing 100% manually wind up getting penalized somewhere in the process.** I designed a brand new editing tool for personal projects, which actually allows me to record audio and re-narrate any AI-assisted article, beat by beat. And funnily enough, that passes as 100% human-written. So even though this issue is not about visual arts, it deals with what I think of as a related new problem set when incorporating AI tools into our creative workflows across the board. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. ## Sign up for The Intersect "The Intersect" examines the reciprocal influences of technology and the arts Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. --- *SOCIETAL IMPACT OF ART AND TECH* --- ![“The Turning Point: To Be Destroyed” Premiere - 2024 Tribeca Festival](https://theintersect.art/content/images/2026/08/5c38d0f3-reposition-1787683407243.jpg) Dave Eggers attends the “The Turning Point: To Be Destroyed” premiere · Credit: John Lamparski/Getty Images for Tribeca Festival ## Dave Eggers Walks Into OpenAI and Doesn't Give the Speech They Expected Do you remember the movie "Guess Who's Coming to Dinner"? Well, the guest in question came as a surprise to a white girl's parents - as her new boyfriend turns out to be black. Sorry for that comparison to a famous Sydney Poitier movie, but Sam Altman recently invited over the famous novelist Dave Eggers, to come and speak to his employees. Well, guess what? It didn't quite turn out the way that maybe Sam had expected, nor his employees for that matter. Credit to Sam to invite Eggers in the first place. And also credit for Eggers of not mincing words. > **"The effect of ChatGPT on educators' lives is catastrophic. Whether you intended to do it or not, you've made every teacher's life infinitely more difficult"** The backlash amongst artists and writers and creatives is real, but what not very many people talk about is a split into two generational camps that I seem to be detecting. My wife, for example, belongs to the London Writers' Salon, and many experienced writers have incorporated AI successfully as editorial assistants to improve the quality of their writing. This is usually an older cohort. Seasoned visual artists have used technology in one form or another and incorporated it into their work for decades. David Hockney, for example, using fax machines in his paintings, comes to mind. Then contrast that with a younger cohort who just reject AI outright in any shape and form. They object to AI having touched any part of the process, be it writing or visual arts. For them, it's not about the quality of the work, but principle. So in an age of emerging AI detectors, are we willing to dumb down the quality of our work just to prove that we are 100% human? [Read the original article →](https://www.theverge.com/ai-artificial-intelligence/967630/dave-eggers-openai-chatgpt-silencing-an-entire-generation?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-85) The next story brings us back to the visual arts, but on the same topic: having a label that proves your photos were actually taken with your real camera and not AI-generated. --- *AI IN VISUAL ARTS* --- ![Apple Wants to Prove Your Photo Is Real. But What Counts as Real?](https://theintersect.art/content/images/2026/08/l-intro-1786398315-1.jpg) ## Apple Wants to Prove Your Photo Is Real. But What Counts as Real? So here's a refreshing alternative to AI detection. It is human detection. Anna Washenko recently wrote a story at Engadget to update us on iOS 27, and the fact that Apple is bundling a photo authentication tool into it. What's different here is that it guarantees the photo was taken by a human, rather than trying to detect AI-generated images. As a photographer, of course, I tend to geek out on the details, because even if a photo was taken with an iOS camera, or with an equivalent Android device, there is a lot of AI-assisted stuff happening behind the scenes. Noise removal, upscaling, resampling, color correction. These all involve some level of AI. It becomes a philosophical issue around what constitutes a photograph. But let's leave that aside for now. > **The Engadget report asserts that resources for checking the authenticity of an image in the age of AI slop are more important than ever.** Okay, I won't disagree with that, but this same question of having to prove the provenance and authenticity of work is what runs through the rest of this issue . [Read the original article →](https://www.engadget.com/2234108/apple-may-introduce-a-photo-authentication-tool-in-ios-27?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-85) Substack's partnership with Panagram has brought the conversation about AI detectors and humanizers to the forefront in the creative community. The next couple of articles that came to my attention this week explain the conundrum and response in the creative community pretty well. --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![Substack's AI Scanner and the New Purity Test for Writers](https://theintersect.art/content/images/2026/08/f52c1c72-manual-1787597735255-1.png) ## Substack's AI Scanner and the New Purity Test for Writers Paul Frazier of Parasocial Magazine recently interviewed Pangram CEO Chris Best about his new partnership with Substack. Pangram is arguably the best AI detection tool out there, and he's called what his tool does "Claudefishing." I think his aim is to help people be aware of investing attention in words that no human created. The scan is optional for now. Writers can add an AI policy label called a "How did I make this" note. So it's a form of disclosure, not necessarily enforcement. Fine as far as that goes. I work for an arts nonprofit, and we deal with many younger artists who are terrified of being found out to have used AI in any form. That younger cohort rejects AI outright, and for them it becomes a game of gotcha. Scan, screenshot, out someone publicly. The question of whether AI-assisted work could ever be an improvement never enters the equation. > **Substack itself cautions that the tool detects whether AI was used, not whether human care went into the work.** The trouble is false positives land on people writing 100% manually. That gap is where publishing gets stuck. Most book publishers now want a 100% human score, which no manual writer can guarantee. So you end up editing your own honest prose to read as human, often by dumbing it down rather than making it better. When did proving you wrote something start meaning making it worse? [Read the original article →](https://www.parasocialmagazine.com/news/substack-adds-ai-detection-tool-with-pangram?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-85) ![AI vs AI: the new arms race between plagiarism detectors and humanizers](https://theintersect.art/content/images/2026/08/1-AMzHYjRhaRTCacF5NflJoA-1.png) AI Plagiarism Detector and Humanizer; two sides of the same coin by Anushka Sarkar · Credit: Anushka Sarkar ## AI vs AI: Why the Detector-Humanizer Arms Race Is a Losing Bet Here's a thought: ALL arms races are losing propositions. In the real world, with real arms and deadly weapons such as drones or AI autonomous killing machines, humanity loses in the process. But don't let me get started on that. > **What's playing out in this issue is a much lesser form of an arms race about AI detection versus humanizers that are built to try and fool them. To my point, it's a losing proposition.** For those who pay attention to such things, there's been a lot of brouhaha lately around Substack more or less forcing writers into disclosing whether they use AI-assisted, AI-written tools or not. But the end result is that everyone is shooting for 100% human label. Among the many stories, Anushka Sarkar published one in Sonar about this playing out. LLMs are built to predict the next most likely word in generating language. So large language models are basically predictions, and that is how Pangram is able to detect whether a predictive model was used in any written text. And it's pretty foolproof - past 95% accuracy. On the other side of this losing fight are humanizers, and they inject mistakes, wrong punctuation, weird expressions into the text and make the writing and end result much worse, though it may pass as being 100% human in the process. The solutions I'm working on basically allow me to take AI-generated concepts and texts, like from an editorial assistant or brainstorming collaborator, and then narrate and paraphrase these myself out loud through recorded prompts, ums and ahs trimmed out. And that, as it turns out, gets graded as 100% human. I feel this is fundamentally different from humanizers that are making the writing worse and interjecting fake punctuation and mistakes. Because what we're doing is not a way of fooling Pangram and tools like it, because the text really is 100% human. It is just me narrating something out loud with a little help in punctuation and grammar. Which admittedly I need. But at the end of the day, I feel that form of assisted writing is legit. I wonder what other solutions are out there that similarily strive for being ethical in nature? [Read the original article →](https://medium.com/@anushkausarkar/ai-vs-ai-the-new-arms-race-between-plagiarism-detectors-and-humanizers-f0c151aef22d?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-85) --- *THE LAST WORD* --- Thanks for reading this week's issue, even if it was a little out of band in terms for the visual arts. But whether it's a blog post or an essay or a long Instagram or LinkedIn post, I keep thinking back of now having to prove that these are human-created. Over to you. I'm really curious to hear your view on AI powered editorial assistance, or your use of AI in your creative workflow. Does proving that your own work is labeled "100% human" by any AI detector matter to you? ### Already Somewhere Else URL: https://theintersect.art/issues/84/ Last updated: 2026-08-12T16:57:29.000Z I read a recap of Christie's latest Art + Tech Summit this week, and the whole thing was basically one long question: will the new tech billionaires eventually buy paintings? The IPO money from Anthropic, OpenAI, and SpaceX is real, so the auction house wants to know what all those people will someday want hanging on a wall. Someone even called it "a historic moment in wealth creation," which is a strange thing to say about a room full of people guessing at other people's future shopping habits. Here's what got under my skin. The same technology that made those fortunes is already in artists' hands, and they aren't using it to accumulate anything. Simon Weckert printed an AI-generated pattern onto a coat, and surveillance cameras stop registering that there's a person wearing it. Nobody made that coat hoping Christie's would call. There's a second thing I keep circling, and it's the more personal one. We spent decades telling people an art degree was impractical - that law, computer science, finance were the serious choices. The irony is that those degrees train you to be one specific thing, and being one specific thing is precisely what AI will replace well. > An art education is inherently more flexible and future proof. It teaches you to notice, to question, to reframe a problem, to make something coherent out of incomplete information, and none of that is bound to a field. It goes wherever you go. I'm a case in point: the work I do now didn't have a name when I was an art student. An engineer told to defeat facial recognition reaches for cryptography, or a lawsuit. Weckert asked what if the garment itself is the argument. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. ## Sign up for The Intersect "The Intersect" examines the reciprocal influences of technology and the arts Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Christie's Bets Its Future on AI Billionaires Who Won't Buy Art Yet](https://theintersect.art/content/images/2026/08/christiessummit-1.png) ## Christie's Bets Its Future on AI Billionaires Who Won't Buy Art Yet An "Art + Tech Summit" whose central question is whether newly minted tech billionaires will eventually buy paintings sounds less like a summit and more like a sales forecast. That's roughly what happened at Christie's 2026 edition, as Shanti Escalante-De Mattei reports for ARTnews. CNBC's Robert Frank called it "a historic moment in wealth creation," pointing at the IPOs of Anthropic, OpenAI, and SpaceX. Everyone on stage tried to guess what all that new money might someday want to hang on a wall. I kept hoping there was more to a summit about art *and* tech than working out whether tech billionaires will become the next class of collectors, quietly replacing the boomers Christie's has leaned on for decades. There's something deeply elitist about a panel devoted to the future desires of the mega-rich - and whether those desires will graciously extend to art. Fine, this is the natural terrain of a high-end auction house. But I'd hoped for a slightly wider aperture. > "AI is driving a pursuit of experience, for art, something you can get your hands on," said Michael Anders of ICONIQ Capital - before conceding these same workers are "so busy building they haven't woken up to that." The one thing the panel seemed sure of: if these people ever do collect, they'll want rare, unique estates, not anything digital. Isn't it a little funny that the people building our digital future apparently want their art analog? Christie's seems to miss the circuit it's standing in the middle of. It's trying to broker a marriage between the art world and the people who built the AI surveillance systems, the software that turns photographs into 3D models, the code written to copy itself endlessly. And while the summit counts future wallets, the artists have already walked off with those exact tools: growing gardens out of malware, sewing coats that make a wearer invisible to a surveillance camera, coaxing sound from the earth's magnetic field. None of them are waiting for a buyer. So while Christie's studies the billionaires, I keep landing on the same thought: the billionaires might be studying the wrong people. [Read the original article →](https://www.artnews.com/art-news/market/christies-art-tech-summit-2026-ai-wealth-art-market-1234793113?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-84) ![A Coat That Confuses the Cameras — and the Politics Behind It](https://theintersect.art/content/images/2026/08/digital-camouflage-conceptual-garment-collection-simon-weckert-digital-surveilla-1.png) ## A Coat That Confuses the Cameras - and the Politics Behind It Simon Weckert made a coat that surveillance cameras can't find a person in. As DLVR reports at Designboom, his *Digital Camouflage* collection covers a garment edge to edge in AI-generated visual noise - a pattern that reads to us as an abstract graphic and to a camera as very little at all. It helps to know how these systems actually work. An AI surveillance camera runs in two stages: first it decides whether the shape in the frame is a person, and only then does it try to work out whose face it is. In China there's a camera on effectively every corner doing exactly that. Weckert attacks the first stage. The camera never registers a person standing there, so the facial recognition never runs - it's never handed a face to identify. He didn't defeat the recognition. He made sure it was never asked the question. Earlier attempts used printed patches, which fell apart the moment the fabric folded or the camera moved; covering the whole surface is what makes it hold. > the garments are intended to make the wearer difficult for AI-based person detectors to recognize, disrupting the system's ability to identify the human figure Notice the shape of that solution. It isn't legal, it isn't regulatory, it isn't cryptographic. It's aesthetic - a textile artist slipping the watching while commenting on it, built from the same generative methods the surveillance itself runs on. That's a satisfying bit of judo, and exactly the kind of double move I can't resist. But here's where my enthusiasm cools. This works beautifully as art and as protest. As an actual defense against mass surveillance, it's a workaround for a problem that shouldn't be ours to wear. Real protection takes political will, regulation, and a genuine fight for privacy. That job can't fall to artists alone, and it definitely can't require the rest of us to dress in camouflage to keep our own faces. So the garment makes its argument, and no buyer is required. Should freedom from being tracked really depend on what you put on in the morning? [Read the original article →](https://www.designboom.com/technology/digital-camouflage-computational-noise-wearable-shield-ai-surveillance-simon-weckert?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-84) ![When Malware Grows a Garden and Tells You to Go Outside](https://theintersect.art/content/images/2026/08/1-1.jpg) ## When Malware Grows a Garden and Tells You to Go Outside A virus that locks your machine for 24 hours and grows a garden on your screen - plants, birds, no access, no productivity. That's *Natural Contacts*, the early-2000s malware project by Peter Burr, Mark Fingerhut, Bridget DeFranco, and Matthew D. Gantt, written up by Neural Magazine. It asks a question I keep chewing on: when does disruptive code stop being an attack and start being an argument? This one sits right at the heart of the issue's thread. Christie's is out courting the people who built the rendering pipelines and the viral-spread code. Meanwhile these four artists took that exact logic - code that propagates, code that disrupts - and pointed it at something slower. Nobody's waiting to sell you *Natural Contacts*. It just wants you to go outside. We've built whole economies on the idea that an unavailable machine is a crisis. They flipped it. What if the crisis *is* the availability? > The obstruction of the machine's availability enforces a halt to all forms of productivity, which is visually replaced by simulated plants and birds. There's something tender about swapping your locked desktop for a garden. It's not ransomware demanding Bitcoin. It's ransomware demanding a walk. The coercion is the point, and the softness of the substitute makes the critique sharper, not gentler. The same tools built for viral spread, turned toward patience - the one thing the tech world is least designed to accommodate. Nobody trained purely as a coder builds a virus that tells you to touch grass. Turning malware into a critique of malware is a sideways move, and it's the part I keep chewing on - the tools of viral spread rewired to argue for patience, which is the one thing the industry that built them is least designed to accommodate. So maybe the real question is whether forced disconnection still means anything now that we pay subscription fees for apps that do roughly the same thing, voluntarily, on a timer we set ourselves. [Read the original article →](https://neural.it/2026/04/natural-contacts-gardening-malware/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-84) --- *ART AND SPATIAL COMPUTING* --- ![The Art of the Deliberate Mistake](https://theintersect.art/content/images/2026/08/reverse-rendering_jannis-berner_lehnerechtcrop-scaled-1.jpg) ## The Art of the Deliberate Mistake A school chair, scanned wrong on purpose. That's the seed of "Reverse Rendering," the project that just won Jannis Berner a Golden Nica in the u19 category. Hannah Bachl profiles him at the Ars Electronica Blog, and the idea is deceptively simple. He scans an ordinary chair using Gaussian Splatting - a technique that rebuilds objects from photos as millions of tiny floating points rather than solid surfaces. Then he pushes that messy scan back into physical space, errors and all. The inversion is the whole trick. Normally you scan a real object and the software politely hands you back the same object, faithful and clean. Berner did the opposite. He fed it only parts of the chair and let the program fill the gaps with its own confused guesses. The result is sculpture built from omission. It reminds me of that old story about blindfolded people touching different parts of an elephant - one finds a wall, one a rope, one a snake, none of them wrong, none of them whole. > Depending on your viewing position, the arm "moves," or maybe there are even two arms in the middle because it isn't clear where it actually is in space. That line, about scanning his moving family in Budapest, is the whole project in miniature. The point cloud doesn't lie, exactly. It just refuses to pretend it knows more than it does, which is more honesty than most of this software offers. This is the tool the tech world built to capture everything - and Berner turned it into a practice of honoring what it can't see. There's something in doing this at nineteen. Berner took a tool built for accuracy and asked what its failures mean, rather than accepting the clean answer it hands you - which is a harder question than getting the scan right. So when did we decide a perfect scan was more truthful than one that admits what it never saw? [Read the original article →](https://ars.electronica.art/aeblog/en/2026/06/22/finding-the-right-error?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-84) --- *ART & SCIENCE* --- ![Chijikinkutsu and the Art of Noticing](https://theintersect.art/content/images/2026/08/21103090592_9effda6eff_k-1.jpg) ## Chijikinkutsu and the Art of Noticing Magnetized needles float on water in drinking glasses. They twitch when the Earth's magnetic field nudges them, then tap the glass to make a sound you can barely hear. That's "Chijikinkutsu" by Nelo Akamatsu, a 2015 Golden Nica winner that Nicole Grüneis revisits for the Ars Electronica Blog. She pulled it from the archive because its tenderness stayed with her - sounds so fragile you only catch them if you decide to listen. We just got back from Japan, and I'll admit I knew almost nothing about Shinto going in. It isn't a religion in the usual sense. It's a practice of noticing, of being present. That clicked something into place. It explains my long pull toward Zen, mindfulness, and, honestly, photography. When I'm deep in a shoot, the work isn't really about the camera. It's about paying attention. > These sounds do not unfold as a dominant sound cloud, but rather as very fragile, spatially distributed resonances. They emerge randomly and are perceptible only through conscious listening. So a piece that makes geomagnetism audible - a force always around us and never noticed - feels like the same act, just moved from the eye to the ear. We can't feel the Earth's magnetic field. Akamatsu hands us a way to hear it, but only if we slow down enough to bother. Sensors that read the Earth's magnetic field exist to measure and record - to capture more, faster. Akamatsu takes that same instinct and flips it. He isn't gathering data. He's asking a room to go still. A tool built to catch everything, pointed instead at one thing you'd otherwise walk right past. We close the issue here, with needles tapping glass. What else are we surrounded by that we'd hear, if we stopped filling the silence? [Read the original article →](https://ars.electronica.art/aeblog/en/2026/08/06/the-sound-of-water?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-84) --- *THE LAST WORD* --- Thanks for reading this one. What stays with me is the gap in timing. Christie’s spent a day asking what the new fortunes will eventually want on their walls, and every artist in this issue had already stopped waiting to be asked. They took the tools that money was built on and pointed them somewhere else: a coat a camera cannot read, a scan kept deliberately wrong, needles tapping glass. That is where the title came from. By the time a market decides what it wants, the work worth looking at is already somewhere else. So here’s what I’d love to hear from you: have you ever made something with a tool and watched it get pulled toward a market you never had in mind? Did that change the work, or just change who was looking? Hit reply. I read every one. Best, Juergen ### The Satellite Is the Camera URL: https://theintersect.art/issues/83/ Last updated: 2026-09-03T09:12:58.000Z A weather satellite 22,000 miles up has one job: watch storms so we get some warning before they hit. Nobody who built it was thinking about art. Then Seán Doran took 2,500 of its infrared images, patched the gaps by hand, added color, and slowed it down until the clouds looked like moving paint. A machine built to measure the weather, used to make something beautiful instead. That's the thread this week. Artists keep taking tools built for science - satellites, sensors, microscopes, synthesizers - and using them to make art they were never meant for. And the trick is usually simpler than it looks. Doran's film is really just a time-lapse; he just refused to treat the satellite as only a satellite. Artists have always done this. What gets me is how little actually has to change - the tool keeps doing its job, and the art is just a way of looking. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *DATA DRIVEN ART* --- ![The Camera Is a Weather Satellite 22,000 Miles Up](https://theintersect.art/content/images/2026/07/09c64a93-4.jpg) ## The Camera Is a Weather Satellite 22,000 Miles Up Sage Helene's piece at My Modern Met introduces *Water World*, a film by digital artist Seán Doran built entirely from real weather data. He pulled 2,500 infrared images from the GOES-16 satellite, repaired the gaps frame by frame, colorized them, and slowed the whole thing down. What was once monochrome storm-tracking footage becomes teal and silver clouds drifting like brushstrokes across the Western Hemisphere. Strip it down and this is a time-lapse. Nothing more exotic than that. But who ever decided you needed a camera to make one? Doran's "camera" is a machine orbiting 22,000 miles up, built to track hurricanes and issue weather alerts, not to make art. And yet the result is edited and constructed with more care than most films shot on actual lenses. The tool was never meant for this. That's exactly why it works. It's the move this whole issue keeps circling: an instrument built to measure something, quietly handed a second job it never applied for. > The weather patterns featured in the film are not especially dramatic by meteorological standards. They capture ordinary water vapor activity across six relatively uneventful days in September 2024. That detail is the whole story for me. Six boring days of vapor, reframed into something meditative. The art wasn't in the weather - it was in deciding the satellite was a camera all along. So this is where we start. And it leaves me with a question I can't quite put down: what else have we been staring at for years, not realizing it was footage waiting for an editor? [Read the original article →](https://mymodernmet.com/water-world-goes16-satellite-film/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-83) ![When the Fern Hums: Listening Beyond the Human](https://theintersect.art/content/images/2026/07/5484700d-4.jpg) ## When the Fern Hums: Listening Beyond the Human Clamp a tiny electrode onto a fern, read its electrochemical flickers, and pipe them into a synthesizer. That's biosonification, and Thomai Tsimpou's piece at designboom walks through the whole strange practice. A fern hums a sine-wave drone. A philodendron triggers a melody. It's the kind of work that lives in a darkened gallery and makes you lower your voice without knowing why. The article traces the lineage back to Data Garden and the MIDI Sprout, and even to a 1960s polygraph expert who hooked leaves to a lie detector and started wondering if plants could feel. This is the issue's move in miniature: an instrument built to measure something gets redirected toward feeling instead. A satellite becomes a camera. A microscope wires into a Moog. Here, an electrode meant to read voltage becomes a way to listen to a houseplant. And it rhymes with something we ran a few issues back - an artist converting the northern lights into a soundscape (Issue 82). Same instinct, different subject. Something in us wants to hear the parts of the world that don't announce themselves. I like that the people behind these projects refuse to oversell it. A pothos is not composing ambient techno. Mushrooms are not singing to us. The honesty is the whole point. > Data Garden's Patitucci stresses he and his collaborators are 'artists more than scientists' and often say 'we don't know!' what it all means. Their goal was to foster wonder, not to claim plants literally feel emotions or speak to us. That "we don't know" is rarer than it should be in a field where everyone else is busy claiming certainty. Working with generative tools daily, I keep noticing the same thing: the sound isn't the discovery. The act of choosing to listen is. Is the plant telling us something, or are we finally quiet enough to admit we've been talking over everything else? [Read the original article →](https://www.designboom.com/art/soft-frequencies-sonic-signals-plants-fungi-other-beings/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-83) --- *ART NARRATIVES* --- ![Hockney's Faxes: When Art Met Tech Before the Screen](https://theintersect.art/content/images/2026/07/b5c8449a-4.jpg) ## Hockney's Faxes: When Art Met Tech Before the Screen David Hockney died recently, and the New York Times Arts & Design desk ran a lovely remembrance of him - not as a painter, but as a man with a lifelong appetite for machines. Polaroids, photocopiers, fax machines, and eventually the iPhone and iPad. The piece traces how each new tool gave him forms his paintings never could. I want to honor his passing here, because most of us would never file Hockney under "artist who embraced technology." That's simply wrong. This issue is full of artists redirecting instruments toward feeling - weather satellites turned into cinema, ferns wired into sound. Hockney is the historical version of the same move. When we say "tech in art" today, we almost always mean a screen. An iPhone, an app, something virtual and glowing. That reflex is recent, and a little impoverished. Technology has lived inside artworks for a very long time, and Hockney is proof. A photocopier is technology. A fax machine is technology. He bent both toward something nobody expected. > Polaroids and photocopiers also gave the artist possibilities for creating in forms vastly different from his paintings. I'd go further. Some of the richer intersections happened back then, when the machine was physical and stubborn and pushed back. A fax has grain, smudge, friction. An app mostly does what you ask. Hockney loved the talking-back part, and I think that's where the interesting art lived. So I keep asking myself: did we trade away the friction that made the intersection worth visiting in the first place? [Read the original article →](https://www.nytimes.com/2026/06/12/arts/design/david-hockney-ipad-iphone-photocopier-fax.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-83) --- *TECHNOLOGY IN MUSIC* --- ![Maggi Payne and the Art of Wiring a Microscope to a Moog](https://theintersect.art/content/images/2026/07/e615a803-4.jpg) ## Maggi Payne and the Art of Wiring a Microscope to a Moog In 1982, Maggi Payne pointed a microscope at crystals as they grew, filmed it, and set the footage against a Moog modular Series III - plus real solar wind data from one of NASA's top physicists. Peter Kirn's piece at Create Digital Music sent me back to her, and to this excerpt of *Crystal* surfaced by The Bob Moog Foundation. Payne is the longtime co-director of Mills College's Center for Contemporary Music, and this is the kind of thing that shouldn't hang together and completely does. Some artists have always treated technology as an inspiration, not a gadget. Payne is that artist. She photographs crystals under a microscope, patches a synthesizer, folds in NASA physics, and somehow the microscope and the Moog end up talking to each other. I don't think she wired those fields together to look clever. I think she did it because she was genuinely curious about all of them at once - which is the move this whole issue keeps circling. Instruments built to measure something, redirected toward feeling instead. > "handmade videos of crystals growing under a microscope and data of solar winds provided by one of NASA's top physicists, the late Fred Scarf" That line, from Geeta Dayal writing for the LA Phil, is the whole ethos in one sentence - the very small and the very large, wired to the same patch cables. We talk about interdisciplinary work like it's a recent invention. Here's someone doing it in 1982 with a modular synth and a microscope, the same year the rest of us thought a home computer was exotic. When one curiosity reaches across that many fields, is it still one discipline, or four pretending to be one? [Read the original article →](https://cdm.link/maggi-payne-crystal/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-83) --- *ART AND SPATIAL COMPUTING* --- ![3D Printing Walks the Runway: Iris van Herpen at Brooklyn](https://theintersect.art/content/images/2026/07/fcb203e9-4.jpg) ## 3D Printing Walks the Runway: Iris van Herpen at Brooklyn A 3D printer built the first van Herpen garment to walk a runway back in 2010 - a snake-skeleton top made with an architect. Marisa Guthrie's piece for WWD, running at ARTnews, walks through "Iris van Herpen: Sculpting the Senses," the Dutch designer's mid-career retrospective at the Brooklyn Museum. Since that first show she's roped in sculptors, chemists, bioengineers, even astrophysicists. Lady Gaga, Björk, and Beyoncé have all worn the results. I'll admit up front: we rarely touch fashion here, and I am no fashion aficionado. A lot of runway design strikes me as pure attention-grabbing, and the celebrity roster does nothing to dispel that suspicion. So I'm genuinely torn on whether this belongs at the Intersect at all. But the 3D printing keeps nagging at me. It makes each piece singular in a way a sewing machine can't, and that's harder to wave off as spectacle. > Van Herpen was the first designer to utilize the technology for a wearable garment. More than 15 years later, she has continued to push the boundaries of material and technique, collaborating with architects, sculptors, chemists, multidisciplinary artists, bioengineers and astrophysicists. Which is why it closes this issue. Everything else here took an instrument built for measurement - a weather satellite, a microscope, a plant's electrical signals - and pointed it at feeling instead. Van Herpen does the same trick one industry over. A 3D printer is a tool of industrial precision. She hands it to a body on a runway. Not satellite tech, sure. But it's the same instinct: a tool doing a job it was never made for. So here's my honest question to you: do you want more fashion-and-tech intersections in these pages, or is this one runway too far? [Read the original article →](https://www.artnews.com/art-news/news/dutch-designer-iris-van-herpen-high-tech-garments-retrospective-brooklyn-museum-1234785529/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-83) --- *THE LAST WORD* --- Thanks for poking at the wiring with me this week. I keep turning over one question, and I'd love your take on it: what tool in your own practice was never meant for the thing you use it for? A spreadsheet that became a score. A scanner that became a camera. I suspect most of us are quietly misusing something, and calling it method. Hit reply and tell me what you've drafted into service - I read every one. Best, Juergen ### Happy 250th: Five Dispatches From Everywhere Else URL: https://theintersect.art/issues/82/ Last updated: 2026-08-26T20:36:46.000Z Happy 250th, America. I mean that. I was sworn in as an American citizen in a Brooklyn courthouse in 1991 - during the John Gotti trial, of all things - having arrived from Germany in 1977 and spent fourteen years becoming, undeniably, an American. I feel like my patriotism has been earned over 35 years, not inherited. And earned patriotism, I've found, is entirely compatible with looking everywhere else, for inspiration, for juxtaposition. So that's what this issue does. While the fireworks go up and the hot dogs go down, I went looking at what the rest of the world has been making. The short version: quite a lot. There is no American story in here. Not today. Instead there's a theatre in Brisbane wearing its glass like moving water, made possible by Chinese manufacturing and a Norwegian-Australian design partnership. There's Björk in Reykjavík, shown not as a singer with hobbies but as an artist whose songs leak into painting and video and refuse to stay in their lane. There's a Norwegian artist who built her own crystal radio to turn the Northern Lights into sound, and a New Zealand photographer lighting extinct birds so tenderly they seem to breathe. Even the one piece pointed squarely at American politics - Jenny Holzer's show - is hanging in Porto, made by an American working abroad and seen through foreign walls. The thread is simple. The world is large, the work is good, and 250 years is a long time for everyone else to have been at it too. This week, no fireworks. Just things people elsewhere have quietly been building while we weren't watching. Pour yourself something cold and come look. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *TECHNOLOGY IN MUSIC* --- ![Björk in Iceland: When the Music Refuses to Stay Music](https://theintersect.art/content/images/2026/07/a513397b-1.gif) ## Björk in Iceland: When the Music Refuses to Stay Music Happy 250th, America. To mark it, we're spending this whole issue looking for international inspiration - and we start in Reykjavík, where Björk has spent a career refusing to keep music inside music. Craig McLean's piece for Wallpaper walks through two exhibitions at the National Gallery of Iceland, where Björk is shown not as a singer with side projects but as an artist working across painting, video, and music at once. The framing is simple and right: everything radiates out from the songs, and nothing stays in its lane. Her music isn't for everyone, and I'll happily admit that. But what I love here is how the show refuses to separate the parts. The wardrobe, the instrument choices, the visuals built to sit alongside the sound - they're not decoration around the music. They're the same idea wearing different clothes. That interconnected quality is the whole point of her work, and it's the thing most "multidisciplinary" artists only gesture at. > The National Gallery of Iceland celebrates the multifaceted nature of Björk's creativity with two exhibitions. Most of us treat our disciplines like rooms with doors. Björk seems to have knocked the walls down decades ago and just kept rearranging the furniture, which is harder and stranger than it sounds. When a song stops being only a song, where exactly does the artwork begin? Hold onto that question. The rest of this issue keeps running into the same blurred edge - from glass that learns to ripple to a Norwegian artist tuning a homemade radio to the sky. [Read the original article →](https://www.wallpaper.com/art/exhibitions-shows/bjork-national-gallery-of-iceland?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-82) ![Turning the Northern Lights Into Sound, With Caveats](https://theintersect.art/content/images/2026/07/85bc52a2-manual-1777491097329.png) ## Turning the Northern Lights Into Sound, With Caveats Stop number four on our tour of everywhere-but-here lands in Norway, where the sky itself becomes the instrument. Neural Magazine's review of Marta Zapparoli's *Interdimensional Generated Space* sent me down a genuinely fascinating rabbit hole. The concept is hard not to love: field recordings captured in Norway, woven together with studio sessions via a self-built crystal radio, light detectors, motors, and antennas - all in service of transposing the Aurora Borealis into sound. Released on Dissipatio, the Italian experimental label run by Nicola Quiriconi, the work sits at that precise intersection of natural phenomenon and technological mediation that I find almost irresistibly compelling. Here's the honest truth though: I love the *idea* considerably more than I love the actual listening experience. I pulled it up on Bandcamp with genuine anticipation, and what came back was... fine? Interesting the way a physics lecture is interesting - intellectually, at arm's length. Not unpleasant, exactly. But not something I'd put on while cooking dinner, or really any other time I can think of. > The piece exploits the contrasts between invisible processes and sensory perceptions, creating an unprecedented experience of space, time and human scale. That tension - a process that's conceptually rich, a result that's experientially thin - is one I bump into constantly in experimental sound work. The apparatus is extraordinary. The intent is serious. And yet the ear wants what the ear wants. After Björk bending every art form into the next, here's the quieter version of the same global ambition: someone building her own radio to hear the light. Does the gap between compelling concept and compelling experience matter, or is the documentation of the attempt the whole point? [Read the original article →](https://neural.it/2026/04/marta-zapparoli-interdimensional-generated-space/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-82) --- *PHOTOGRAPHY* --- ![Dead Birds, Soft Light, and the Quiet Case for Photography Without Algorithms](https://theintersect.art/content/images/2026/07/f2fd3d11.png) ## Dead Birds, Soft Light, and the Quiet Case for Photography Without Algorithms Two stories into a global roundup that has already turned music into landscape and the Northern Lights into sound, here's a deliberate change of register. Thomai Tsimpou's piece at designboom walks through Fiona Pardington's *Taharaki Skyside*, the Aotearoa New Zealand pavilion for the Venice Art Biennale 2026\. Working with Neil Pardington, Pardington photographs taxidermied birds - the extinct huia, the laughing owl, species still teetering - pulled from museum collections and lit so tenderly they seem to breathe. Endangered specimens become portraits, and colonial collecting, ecological loss, and Māori understandings of manu as spiritual messengers all sit inside the same frame. Here's what catches me, and I'll admit it's a slightly contrarian admission for a newsletter that lives at the intersection of art and machines: there isn't an algorithm in sight. This is large-scale printing, soft lighting, patient post-processing - craft that simply wouldn't have been easy, or possible, a couple of decades ago. The tech is real. It's just the quiet kind, the kind that serves the subject instead of announcing itself. A genuinely poignant, deliberately non-AI use of photography to hold the fact of species loss. > Signs of taxidermic repair, stitched feathers, and worn surfaces remain visible in the photographs, acknowledging the fragility of the specimens and the histories attached to them. I keep returning to those visible stitches - proof that someone tried to preserve what was already lost, and the camera chose to show the seams rather than hide them. When did we decide that technology in art has to look like technology to count? [Read the original article →](https://www.designboom.com/art/museum-birds-portraits-ecological-loss-new-zealand-pavilion-fiona-pardington-venice-art-biennale-2026/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-82) --- *ARCHITECTURE* --- ![When the Glass Learns to Ripple: Tech Quietly Serving the Vision](https://theintersect.art/content/images/2026/07/b994387d.png) ## When the Glass Learns to Ripple: Tech Quietly Serving the Vision After Iceland and the Northern Lights, we stay abroad - this time in Brisbane, where the rest of the world keeps quietly building remarkable things. A theatre there now wears its glass like moving water. Dezeen staff report on the Glasshouse Theatre, an extension of the brutalist Queensland Performing Arts Centre, designed by Blight Rayner Architecture with Snøhetta. The rippling facade leans on curved-glass technology from Chinese manufacturer NorthGlass, which can bend seven-metre panels while keeping them optically clean - no warping, no visible stress lines. The design itself nods to a prose poem by Murri artist Lilla Watson, about the Brisbane River and the fish moving beneath it. Here is what pulls me in. I love it when technology bends toward the arts - and yes, I count architecture as art. But I keep snagging on the word "vision." We talk as if the artist had the vision first and the tools caught up. I think it runs the other way sometimes. The curved glass arrives, and suddenly a vision becomes *thinkable* that simply wasn't before. The capability shapes the imagination, not just the execution. > By reducing visible stress patterns and improving reflection clarity, the process allows the environment outside - the sky, street life and movement - to "read more continuously" across the theatre's wave-like glass facade. That last detail is the part I find quietly satisfying: the best technical work here is the work you can't see. The river ripples; the engineering disappears. I would happily fly to Queensland just to stand in front of it. Chinese glass, a Norwegian studio, an Australian river - exactly the kind of thing you notice when you stop looking at your own backyard for a week. So when the tool makes the vision possible, who exactly gets to claim the idea? [Read the original article →](https://www.dezeen.com/2026/06/29/northglass-curved-glass-technology-facade?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-82) --- *ART AND POLITICS* --- ![Jenny Holzer, Resistance, and Language as a Staged Technology](https://theintersect.art/content/images/2026/07/c53b08d4.png) ## Jenny Holzer, Resistance, and Language as a Staged Technology We close this global tour where it gets loud. Annalise Kamegawa's piece at designboom walks through *Wrong Answers*, Jenny Holzer's first solo show in Portugal, now open at Porto's Serralves Museum. Holzer brings out the full kit - spinning LED works, stone carvings, those acid-bright Inflammatory Essays - and points all of it squarely at the current American political moment. There's a golden canvas hung upside down referencing the note Trump received on January 6th. There's a face on the wall that bears a suspicious resemblance to the 45th and 47th president. Subtle, she is not. There's a fitting twist for an issue that left America out of the lineup: here's an American artist staging her resistance from Porto. The patriotism, if that's the word, comes from looking back home with clear eyes from somewhere else. What pulls me in is the collaborative edge - Holzer working with graffiti and urban artists, the language spilling onto surfaces the way posters once colored 70s New York. I keep thinking about timing, too. We're working with a client, Arterial, on an upcoming exhibition called "Resistance," and this would have slotted in perfectly. > CHANGE IS THE BASIS OF ALL HISTORY, THE PROOF OF VIGOR. I don't usually think of language as a technology. But watching Holzer stage words through neon, LED, and stone, I'm less sure of that line. The sentence is old; the apparatus carrying it is not, and the apparatus changes how the sentence lands. So when does a word stop being a word and become a machine for moving people? Happy 250th. The work is good everywhere, and someone's always making it from the outside looking in. [Read the original article →](https://www.designboom.com/art/jenny-holzer-plasticity-language-create-powerful-visual-messaging?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-82) --- *THE LAST WORD* --- Thanks for taking the day off from the fireworks to look elsewhere with me. I had more fun assembling this issue than I expected - turns out the world is generous when you bother to look past your own backyard. I'm curious where your eye went this week. Was it the rippling glass in Brisbane, the Northern Lights turned to static, or something I undersold? Hit reply and tell me what you'd add to a global roundup. My list of countries I haven't covered is embarrassingly long. Best, Juergen ### Credibility Is the New Craft URL: https://theintersect.art/issues/81/ Last updated: 2026-08-26T17:09:07.000Z I've come to think craft has quietly moved. For a long time the hard skill in creative work was making the thing well. Now the tools make plenty of things well, and the genuinely scarce skill is getting anyone serious to believe in what you made. Credibility is the new craft. That's the thread running through every story here. The pattern is almost funny once you see it. The actual work keeps getting waved away in favor of its associations. Grimes promoting an Nvidia talk on LinkedIn becomes a referendum on platforms, not on her. Soderbergh turns his disclosure of Meta's AI into a transparency stunt, because he knows the disclosure will get more attention than the black rose dissolving into choreography. A new art-valuation tool inherits crypto's reputation before it earns its own. And a thoughtful AI art magazine has to spend its first breath proving it isn't celebrating the slop everyone assumes it's celebrating. The skepticism arrives before the work does. Which is why I opened with the least glamorous piece in the issue - what art firms boringly, privately use AI for, in a corner where nobody's watching closely enough to be offended yet. From there it gets louder. I don't have a clean answer for how trust gets rebuilt at the speed the tools are moving. But this issue is me sitting with the gap, watching capable work bounce off audiences who decided in advance, and wondering what it would actually take to change their minds. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *SOCIETAL IMPACT OF ART AND TECH* --- ![The Boring AI: What Art Firms Actually Use It For](https://theintersect.art/content/images/2026/07/1c469405-1.jpg) ## The Boring AI: What Art Firms Actually Use It For We're opening this issue with the least glamorous story in it, and that's deliberate. Before we get to the public spectacles - Grimes, Soderbergh, an art magazine daring to exist - start here, where the trust problem hasn't even arrived yet. Jo Lawson-Tancred's piece at Artnet News makes a quietly useful point: the art market knows it can't ignore A.I., but has no idea what to do with it. Tailored tools are finally showing up. Bonhams just partnered with ARTDAI for market analytics, and the freshly merged Artsy and Artnet are building A.I. into their founding mission. The real action isn't generative at all. It's data, discovery, and operations. Here's what bugs me about the backlash against A.I. in the arts. Most people picture a machine spitting out images, then get angry at that picture. But in practice, art organizations mostly use A.I. for the stuff artists despise: marketing research, bookkeeping, accounting, the finance drudgery that eats studio time. That's not a culture war. That's a spreadsheet. > Spiegler predicts a "big shift" as A.I. puts "high performance technology in the reach of small businesses and individuals for whom it was not financially viable before." Notice what's missing here: outrage. Nobody storms out of a gallery because the back office reconciled invoices faster. This is the one corner of the A.I. story where credibility isn't on the line - precisely because nobody's watching. The skepticism this whole issue circles around only kicks in once the public can see the seams. So I find myself stranded between two poles. The backroom-automation crowd on one side, the image-generation crowd on the other. What interests me is the middle - A.I. interpreting a dataset in a way that becomes *part* of the artwork, not the accounting behind it. Not front-end image generation. Not back-office plumbing. Something stitched into everyday practice. Where does the tool stop being a tool and start being a collaborator in the work itself? That's the question that earns scrutiny. The bookkeeping just earns a shrug. [Read the original article →](https://news.artnet.com/art-world/ai-adoption-on-the-rise-2767684?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-81) ![Grimes on LinkedIn Is the Artwashing We Deserve](https://theintersect.art/content/images/2026/07/998193fe-reposition-1776711001710.png) ## Grimes on LinkedIn Is the Artwashing We Deserve If the last piece looked at AI as quiet office plumbing, this one is about what happens when an artist walks into the room holding hands with the plumbing company. Al Warburton's piece in The Guardian is ostensibly about Grimes showing up on LinkedIn to promote an Nvidia conference appearance. But it's really a dry, funny autopsy of what happens when every platform artists actually want to be on gets hollowed out. Warburton, who released his own AI-themed film on LinkedIn before Grimes got there, has the receipts - and the self-awareness to call the whole thing a "counterintuitive brag." What got me was the line that lodged in my head like a bad jingle: > Pivoting to LinkedIn might seem a depressing thing for an artist to resort to: a bit like moving in with your boomer grandparents. I find this genuinely funny and genuinely sad in equal measure, which is probably the right emotional register for 2026\. And it fits this issue's running problem perfectly. The Grimes backlash wasn't really about the work. It was about the company she kept - an artist with an Nvidia logo behind her reads as a side switched, not a tool used. The association does the damage before anyone watches anything. The fact that LinkedIn is now a legitimate venue for art releases says less about LinkedIn and more about how thoroughly the rest of the internet has been strip-mined. Twitter's gone. Vimeo's a ghost town. Instagram buries anything that doesn't dance. So you end up at the corporate networking site, standing next to the chip vendor, hoping nobody reads it as an endorsement. So here's the question I can't shake: when the only platforms left with organic reach are the ones built for corporate networking, what does that do to the trust we extend to the art made for them? [Read the original article →](https://www.theguardian.com/film/2026/apr/20/grimes-linkedin-ai-nvidia?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-81) --- *AI IN VISUAL ARTS* --- ![Soderbergh's Lennon Doc and the Wrong Argument About AI](https://theintersect.art/content/images/2026/07/40547271.png) ## Soderbergh's Lennon Doc and the Wrong Argument About AI Ana Maria Constantin's piece at The Next Web covers the strangest thing at Cannes this year: Steven Soderbergh's *John Lennon: The Last Interview*, built around a never-released 1980 radio conversation recorded hours before Lennon was shot. About 10% of the visuals came from Meta's AI tools - abstract circles of light, a black rose dissolving into choreography. Soderbergh disclosed the partnership upfront, took the heat, and reframed the whole thing as a transparency stunt. He calls himself his own whistleblower. If the last two stories were about whose name you stand next to - an art magazine afraid of the slop label, Grimes cozying up to Nvidia - this one is the same problem wearing a film credit. The backlash isn't really about the pixels. It's about the association. And here's where it gets funny. The art world is busy scolding Soderbergh for using AI at all. Fair enough, that's the predictable fight. But anyone who actually works with these tools daily - as I do - is scolding him for a completely different reason: he used *Meta's* AI. Of every model he could have reached for, that's the one he picked. It's a bit like announcing you've finally embraced fine dining and then ordering the gas station sushi. > "You don't say yes to Meta offering you these tools and offering to finish the film and not know you're going to come in for some heat. That was part of the deal." So the deal wasn't about the imagery. It was about who paid for the finish. And that's the trust problem in miniature. Soderbergh's point about undisclosed AI everywhere is genuinely sharp - the issue isn't that he used it, it's that everyone else won't admit they do. The credibility gap doesn't close because the work is good. It closes, or doesn't, based on the logo in the corner. When the bravest thing about your AI experiment is naming the vendor - and the vendor is the part everyone winces at - what exactly are we praising? [Read the original article →](https://thenextweb.com/news/soderbergh-lennon-documentary-ai-meta-cannes?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-81) ![An AI Art Magazine That Refuses to Worship Its Subject](https://theintersect.art/content/images/2026/07/2c93e7cd-manual-1782236252538.png) ## An AI Art Magazine That Refuses to Worship Its Subject A magazine devoted entirely to AI art sounds either inevitable or doomed, depending on your mood. Reviewed in Neural Magazine by Aurelio Cianciotta, *Critical Intelligence - The AI Art Magazine, Number 2*, edited by Christoph Grünberger, picks the harder path. It doesn't showcase flashy generated images or worship the technology. Instead it gathers artists and writers to sit with the controversies, the ambiguity, and the questions nobody has answered yet. Which makes it the perfect place to close this issue. Everything we've looked at - Grimes on LinkedIn, Soderbergh's Lennon doc, art valuation as a tradable bet - ran into the same wall. The work itself almost didn't matter. The skepticism arrived first. A magazine starts from the deepest hole of all: before anyone reads a page, half the audience assumes it's a celebration of slop. Here's what strikes me. Launching an AI art magazine right now is not the obvious move people assume it is. The easy version would be a glossy parade of generated images, and that's the version everyone braces for. It's the same risk we face here at The Intersect every week. The interesting work isn't the picture the model spat out. It's how artists fold these tools into a practice that was already alive. > What emerges is the remarkable ambiguity that AI introduces into our perception, and how artists who have embraced it have begun to reflect on the characteristics of the visual spaces they create. So the magazine's real subject isn't the pictures at all. It's the choice of how we engage, with the ecological and ethical questions still sitting open on the table. Credibility, it turns out, is the thing you have to earn one page at a time. When the tool gets frictionless, does the only thing worth talking about become the intention behind using it? [Read the original article →](https://neural.it/2026/05/edited-by-christoph-grunberger-critical-intelligence-the-ai-art-magazine-number-2/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-81) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![When Art Valuation Becomes a Bet You Can Trade](https://theintersect.art/content/images/2026/07/c5a050b5.png) ## When Art Valuation Becomes a Bet You Can Trade Emily Morley's piece at Ocula Magazine traces how prediction markets like Polymarket are quietly migrating into the art world - turning speculation about an artwork's future price into a tradeable asset in its own right. Following Substack's partnership with Polymarket, the question isn't whether this is ethically tidy. It's whether "value" still means anything when the bet itself becomes the product. If the last piece was about which tools art firms quietly trust, this one is about a tool nobody trusts yet - and probably won't for a while. My honest prediction? It goes nowhere fast. The public already has a low opinion of AI, and a lower one of anything near the art market. Polymarket and its cousins drag their own reputational baggage along too. That's a lot of headwinds stacked against each other. Which is a shame, because parts of this genuinely have potential. Provenance verification. Authenticity checks. AI pattern recognition fed with scientific data can outperform human experts, on average. But say "AI" and "art valuation" in one breath and the skepticism is instant. Probably fair, too. > "What is being traded is no longer the asset itself but speculation about its future value" Here's the thing, though. Art pricing has always been a fraught, deeply human game. I think back to the outrage when Julian Schnabel's paintings first sold for $10,000 in New York. Mostly, it seemed, because gallery politics and influencer dynamics were doing the heavy lifting. Setting the value of an artwork has never been clean or neutral. I'm skeptical Polymarket would fix that. More likely it just adds a fresh, liquidity-weighted layer of manipulation on top of the old kind. The pattern repeats across this whole issue: the technology might work, but the trust to use it doesn't exist yet. So which is actually happening here - is the art market migrating toward prediction platforms, or just being colonized by the same speculative logic that's already eating everything else? [Read the original article →](https://ocula.com/magazine/opinion/the-rise-of-polymarket-art-world-speculation/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-81) --- *THE LAST WORD* --- Thanks for sticking with me through a slightly heavier issue than usual. I keep coming back to that opening story - the boring, quiet uses nobody's offended by yet - and wondering whether that's where trust actually gets built. Not in the spectacles, but in the corners where the work just quietly does its job. Or maybe I'm wrong, and the spectacles are the only place the argument ever really happens. I'd love your read on it. What earned your belief recently, and what lost it? Hit reply and let me know what you're seeing from your side of the screen. Best, Juergen ### Contrast Is Meaning, Not Just Style URL: https://theintersect.art/issues/80/ Last updated: 2026-08-11T17:04:51.000Z Contrast is not a styling choice. It is how you know where you are and what matters. Take it away and meaning leaves with it. That is the thread running through every piece in this issue. A cold blue North against a sun-baked King's Landing told you which world you were in before anyone spoke. A single red dress in a room of grey suits told your eye exactly where to look. Strip out the difference and you do not get something neutral. You get something mute. The cinematography pieces make this case in light and color. No Film School traces how modern TV traded saturated skin tones for one tasteful gray, how filmmakers pick a deliberate fight on the color wheel to steer your attention, and how our love of creamy blurred backgrounds quietly flattens the frame. Different tools, same lesson. When everything is equally lit and equally pretty, nothing is emphasized, so nothing is said. Then there is Tony Martignetti's argument in Fast Company that AI is sanding originality down toward the statistical average. I want to argue with his conclusion. But he is pointing at the same wound the cinematographers are: tonal uniformity is a communicative failure, not a clean aesthetic. So this issue sits with one uncomfortable idea across four stories. The contrast we keep removing - in color, in focus, in voice - was carrying the message all along. I am not here to tell you it is a crisis. I use these tools daily and I am suspicious of panic. But I do want to test the seam where visual craft and machine-written prose start sounding like the same complaint. Come argue with me. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *FILM & VIDEO* --- ![When Everything Turned Gray: Why Modern TV Lost Its Color](https://theintersect.art/content/images/2026/07/4b996196.png) ## When Everything Turned Gray: Why Modern TV Lost Its Color Contrast is the whole point of this issue, so let's start where it's most literally visible: the color of the screen itself. Modern TV has a sameness problem, and Jason Hellerman's piece at No Film School finally puts a name to it. Drawing on a video essay from Wow Them in the End, he traces how shows traded warmth and saturated skin tones for diffused light and muted palettes. The example everyone cites: early *Game of Thrones*, where a cold Nordic north contrasted with sun-baked King's Landing, versus *House of the Dragon*, where everything collapsed into one tasteful gray. That contrast in the early seasons wasn't decoration. It told you where you were before anyone spoke. Lose it, and you lose a quiet kind of meaning. Here's my theory, and it's only a theory. My wife refuses to watch most sci-fi because of what she calls "the green tinge" - that dystopian color wash that screams misery before a single line of dialogue. She's not wrong. But what I keep wondering is whether the flattening comes from the tools, not the auteurs. Advanced color grading used to live in expensive suites with seasoned colorists. Now it's a panel in Final Cut on my laptop. Junior creators like me have access to it. And when everyone reaches for the same sliders, everyone arrives at the same look. > The richness and variation of that world have been unified into one dull look. It reminds me exactly of the Instagram filter era. Suddenly every vacation photo went hyper-saturated, every reunion got bathed in that faded 1970s glow. The filter became the style, and the style became everywhere. Maybe flatness isn't an aesthetic choice at all - maybe it's just what happens when powerful color tools land in millions of hands at once. When a creative shortcut becomes universally available, does it expand our range or quietly narrow it? Hold that thought. The next piece picks a deliberate fight on the color wheel - a red dress against everything around it - and argues the opposite case for contrast as a weapon. [Read the original article →](https://nofilmschool.com/modern-tv-look-flat?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-80) ![The Red Dress Problem: Why Filmmakers Pick a Fight on the Color Wheel](https://theintersect.art/content/images/2026/07/a5e31f57.png) ## The Red Dress Problem: Why Filmmakers Pick a Fight on the Color Wheel If the last piece showed what happens when color drains away, this one is about the opposite gamble: putting a single loud color *back in* and aiming it like a flashlight. There's a trick filmmakers use that I never had a name for until now. One object refuses to match the room. A red phone on a green table. A red dress in a sea of grey suits. The piece at No Film School walks through it as "discordant color" - palettes that deliberately clash to grab your eye and steer it. What I love here is how unglamorous the mechanics turn out to be. Pick a color from the far side of the wheel, strip it out of everything else in the frame, and suddenly your eye has no choice. The Matrix does it with the Woman in the Red Dress. Almodóvar does it with a phone before you even know why a phone matters. It's manipulation, sure - but it's the honest kind, the kind that does its work and then steps back. > Almodóvar clearly wants us to notice the phone, even though he hasn't told us why yet. Quickly, the scene reveals that Pepa is waiting for a call from her former lover, so the phone is looming large in her mind. And this is the whole argument of the issue, sitting in one shot. The contrast isn't decoration. It's the sentence. A director puts you inside a character's head through nothing but a green tabletop and a stubborn splash of red. La La Land pulls the same move, keeping Emma Stone findable no matter how crowded the dance gets. No dialogue, no arrow, just color theory quietly telling you where to look and why it matters. So next time a single object in a frame won't leave you alone, ask whose attention is being borrowed - and what they're trying to do with it. [Read the original article →](https://nofilmschool.com/discordant-colors-explained?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-80) ![Are Blurry Backgrounds Ruining Movies?](https://theintersect.art/content/images/2026/07/debabb3d.png) ## Are Blurry Backgrounds Ruining Movies? No Film School recently surfaced a video essay by ExtraMint that asks a question I hadn't quite articulated but immediately recognized: why does so much contemporary cinematography feel weirdly flat? The argument centers on our obsession with shallow depth of field - that creamy, bokeh-drenched look where the background dissolves into irrelevance and only the speaking character stays sharp. After the red dress and the gray sky, this is the same issue told through focus: contrast is how a frame tells you where to look and why it matters. This one hits close to home for me. We talk a lot about depth of field in photography - lenses, apertures, sensor sizes. But what's quietly happened is that the aesthetic got fully democratized and, in the process, somewhat lobotomized. Portrait mode on an iPhone does a passable simulation of what once required a fast prime lens and real skill. TikTok creators get the same soft-background look that used to cost serious money. Which is fine, honestly. But when that shortcut becomes the default visual grammar of prestige television and theatrical films, something gets lost. When everything behind the subject melts away, you've collapsed the contrast - and with it, the sense of a world the character lives inside. > "Instead of locking you out and blurring everything," ExtraMint says about deep-focus filmmaking, "it invites you to explore just as you would in real life." The counter-examples the video reaches for - Orson Welles and Gregg Toland on *Citizen Kane*, Kubrick, Kurosawa, and the entire *Lord of the Rings* trilogy - are exactly the references that made me lean forward. Deep focus as a storytelling choice, not a technical limitation to be overcome. Toland and Welles fought to keep a whole room in focus at once, so layers of action could play out together. That's the opposite of telling you where to look. It trusts you to look for yourself. Which lands me back where this whole issue started. Whether it's blurred backgrounds, drained color, or the tonally uniform prose of an AI draft - the failure is the same. Flatten the contrast and you don't just lose style. You lose the part that tells the audience what any of it means. [Read the original article →](https://nofilmschool.com/try-deep-focus?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-80) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![Is AI Flattening Creativity, or Just Freeing It Up?](https://theintersect.art/content/images/2026/07/7d047c7d.jpg) ## Is AI Flattening Creativity, or Just Freeing It Up? Most issues in this lineup argue their case visually - temperature, discordant color, deep focus. This one makes the same argument in language. Tony Martignetti's piece in Fast Company is worth arguing with: that AI, by gravitating toward the statistically probable, is quietly sanding originality off the internet. He's not wrong that a thousand-plus AI content farms churning out interchangeable articles is real, and a little depressing. But the leap - that AI is swapping creativity for "average" - mistakes one use case for the whole story. Just yesterday I heard from a group of writers who handed off scheduling, invoicing, and other rote chores to AI tools. The freed-up headspace didn't make them blander. They're describing a creativity surge. Which complicates the tidy decline narrative. I build systems specifically meant to keep AI-generated content anchored to a real human point of view - the model can tighten a sentence, but the stance has to come from a person. That's this newsletter, exactly. Every piece gets filtered through my own take. Nothing gets handed to a model to editorialize. > "We're not losing information; we are losing distinction." And distinction is just contrast by another name. A red dress only means something against a muted frame. A voice only registers against the flat hum around it. Martignetti's real target isn't AI assistance - it's AI abdication, the choice to skip having a point of view at all. I suspect that's less a technology problem than a habit problem, one we might outgrow as we work out where the human has to stay in the loop. So: is the "average answer" an AI failure, or a human one? [Read the original article →](https://www.fastcompany.com/91530169/ai-is-replacing-creativity-with-average?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-80) --- *THE LAST WORD* --- Thanks for reading this week. I keep wondering whether contrast is something we lose on purpose or something that just quietly drains away while we're busy making things look correct. I genuinely don't know which is worse. If you work in color, in focus, or in words, I'd love to hear where you've watched the difference disappear - and whether you missed it before it was gone. Hit reply and tell me what you're seeing. Best, Juergen ### What the Building Knew First URL: https://theintersect.art/issues/79/ Last updated: 2026-08-10T18:00:51.000Z The strongest work in this issue would fall apart if you moved it across the street. That sounds like a limitation. I've come to think it's the whole point. These artists treat their surroundings as a collaborator with opinions - the place already had an idea, and their job was to finish the sentence rather than start a new one. Weinstein designs an eight-story glass cloud that only reads correctly under one specific atrium's light. Moment Factory tunes its cathedral scores to a ten-second acoustic reverberation, which means the building's own echo is composing alongside them. I find this oddly comforting, maybe because so much of what I make on a screen could live anywhere and therefore belongs nowhere. A file is portable by design. A glass sculpture suspended in Manila is not. The street artists in Vidar's roundups are running the cheap version of the same wager - a hedge, a barbed-wire strand, a crack in the pavement becomes the material itself. The nature pieces hand the last move to a tide or a branch and trust it to do better than the artist would. Even Bowie's Lightroom room exists to surround you, letting the space carry the feeling. So the question underneath the whole issue: is this kind of work humble, or is it just better at listening than the rest of us? I lean toward listening, but I won't pretend I've sorted it out. Expect five works that couldn't exist anywhere but where they are - and a nagging suspicion that portability was never the virtue we assumed. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *PUBLIC ART* --- ![When the Tree Is the Punchline: Nature as Co-Artist](https://theintersect.art/content/images/2026/07/a4ba230b.jpg) ## When the Tree Is the Punchline: Nature as Co-Artist Vidar's collection over at Street Art Utopia is one of those posts that resets a lazy assumption I didn't know I was carrying. I've always filed street art under "urban" - crumbling walls, wet concrete, the occasional parking garage. So scrolling through these ten photos, something genuinely shifted. The same instinct that turns a hedge into a lion's mane works just as well when the canvas is a forest floor or a weed pushing through a crack in the pavement. > David Zinn has been making original artwork around Ann Arbor since 1987\. His temporary street drawings are improvised on location with chalk, charcoal, and found objects. That means the weed isn't decoration. It's part of the raw material that tells him what the creature should become. This issue is full of artists who treat their surroundings as a collaborator with opinions. But the nature work goes a step further than the rest. A wall holds still while you paint it. A weed with purple flowers does not - it already wants to be wild hair. Fallen leaves want to be a banded spiral around a tree trunk. The artist stops fighting the place and starts taking dictation from it. What surprises me is how obvious it feels in hindsight. Of course a forest floor makes a better partner than a blank wall - it has its own agenda. Which leaves the question this whole issue keeps circling, now shrunk to chalk and twigs: is that humility, or just very good listening - and where exactly does the artist stop and the place take over? [Read the original article →](https://streetartutopia.com/2026/04/21/art-from-nature-trees-and-paint/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-79) ![When the City Finishes the Sentence](https://theintersect.art/content/images/2026/07/053fdcd1.jpg) ## When the City Finishes the Sentence After leaving nature to make the last move, this issue heads into town - where the collaborator is concrete instead of tide. Another one of Vidar's roundup at Street Art Utopia is one of those posts I keep returning to, not because it's packed with theory but because it's just genuinely delightful. Ten works from Miami to Ecuador to Warsaw, each one doing something a blank wall never could: using the actual site - a hedge, a road sign, a strand of barbed wire - as the material itself. The city doesn't just host the art. It finishes the sentence. I'll be honest: there's no obvious tech angle here, and I don't care. What I find compelling is the underlying idea - that transformation happens at the seam between two things. A living hedge becomes a blanket. Barbed wire becomes a phone line between children. The gap between what's there and what's painted is where the meaning lives. That's the same logic I find in the best generative work: the interesting stuff happens at the boundary, not in the middle. > Real barbed wire becomes the phone line between the two children, which is why the image lands so strongly: innocence and danger share the same line. Seth's *Telefòn* from the *Made in Haiti* project is the one that stopped me cold. El Decertor's sleeping child tucked under a hedge-blanket is the one that made me smile. Both artists are doing something I deeply respect - reading a site with enough patience to see what it already wants to say. The street artist makes the same bet the cathedral projectionist does, just smaller and cheaper: the place already had an idea, and the smart move is to listen. So is that humility, or just very good listening? It's the question that runs under this whole issue - whether handing the road sign the job feels different from handing a tool the job. Find where the seam is, and pull. [Read the original article →](https://streetartutopia.com/2026/04/24/clever-street-art-that-feels-made-for-the-spot/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-79) --- *ART AND SPATIAL COMPUTING* --- ![David Bowie Gets the Immersive Treatment at London's Lightroom](https://theintersect.art/content/images/2026/07/ae6e2c16.jpg) ## David Bowie Gets the Immersive Treatment at London's Lightroom Aesthetica Magazine's interview with Tom Wexler, Co-Director and Designer at 59 Studio, covers the new 360° experience *You're Not Alone*, opening this spring at London's Lightroom in collaboration with the Bowie Estate. The show promises to pull visitors inside Bowie's creative world - from *Space Oddity* through *Blackstar* \- with the stated aim of revealing "the man behind the masks" rather than just cycling through Ziggy and the Thin White Duke. If the rest of this issue is about places that finish the artist's sentence, this one flips it. The room here has one job: to surround you. The space does the feeling, not the screen. My first reaction, though, was a smaller heresy: who decided immersive 360° experiences had to be Van Gogh or Monet? I have nothing against either. But the format has started to feel like a screensaver with a gift shop. Bowie is a different proposition. And I say this as someone who'd happily sit through 45 minutes of swirling light if it meant *Heroes* was playing at volume. > "Everyone has a different route in. For some it's Ziggy, others it's *Labyrinth*, and for lots of people it's *Let's Dance* or *Under Pressure.* And yet everyone feels that he's speaking directly to them, which is an extraordinary phenomenon." That's Wexler describing what makes Bowie such a compelling subject for this kind of work. He's right. The format finally has a subject worthy of it. So the real question is whether the technology serves the art or just dresses it up. Can a room full of projections get closer to a person than a well-curated archive ever could? Or are we just asking the space to do the listening, the way the cathedrals later in this issue do - and hoping it has good taste? [Read the original article →](https://aestheticamagazine.com/youre-not-alonea-cultural-icon-in-360/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-79) --- *INTERACTIVE ART* --- ![When Cathedrals Learn to Glow: Moment Factory and the Light That Touches You](https://theintersect.art/content/images/2026/07/0633f51a.jpg) ## When Cathedrals Learn to Glow: Moment Factory and the Light That Touches You A piece at urdesignmag, published under the urdesignmag byline, walks through Moment Factory's AURA series - permanent multimedia installations that turn cathedrals in Montreal, Paris, San Francisco, and Quebec City into nocturnal destinations. Projection mapping, drone photogrammetry, custom enclosures that mimic the stone so the hardware vanishes, orchestral scores calibrated to ten-second acoustic reverberations. The pitch is elegant: light that pays for the building's upkeep while drawing your eye to woodcarvings that hide in daytime shadow. Like the cathedrals in our last piece, this is work that listens to the room before it does anything - except here the listening comes wired to a server rack. Here's what complicates this for me. A few years ago we visited the Sagrada Família in Barcelona. Late afternoon, and the sunlight came through Gaudí's glass and did something I wasn't ready for. I felt emotional, touched, slightly undone. People around me were openly crying. No projection mapping, no orchestral score, no 3D scan of the masonry. Just stone, glass, and the sun doing what it does for free. I was amazed, and I had brought nothing to that moment except being there. > Equipment is often housed in custom enclosures that mimic the existing materials of the site, allowing the hardware to disappear so the visitor can focus entirely on the sensory experience of the volume and scale. So I sit with the tension. AURA's craft is real, and I don't doubt people feel something genuine inside it. But the Sagrada didn't need projectors to wreck me - it needed light it already had. Every work in this issue makes the same bet: the place already had an idea, and the artist just finished its sentence. AURA finishes the sentence too. I'm just not sure the cathedral had left a blank. When the stone can already move you to tears, what exactly is the projection adding - and what might it be quietly replacing? [Read the original article →](https://www.urdesignmag.com/moment-factory-aura-immersive-multimedia-heritage-architecture/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-79) --- *SCULPTURE* --- ![Rewarding and Harrowing: On Latitude as a Creative Catalyst](https://theintersect.art/content/images/2026/07/1834564_title__144132_bhwgHrBaZ.jpg) ## Rewarding and Harrowing: On Latitude as a Creative Catalyst Every piece in this issue treats its location as a collaborator with opinions. So it feels right to open with the person who made me think about latitude in the first place - though here the collaborator isn't a building. It's another human being. Heather Miller's profile of Nikolas Weinstein Studios over at Core77 walks through how an eight-story, 16,000-tube glass sculpture called *Mangrove* ended up suspended in a Manila atrium. Along the way, Autodesk Fusion quietly became the connective tissue between hand-woven glass and the custom machines that make it possible. It's a lovely piece about craft, parametric tooling, and that rare studio culture where designers also build the machines that build the work. But the line that actually stopped me was buried near the top. Weinstein talks about his early collaboration with Frank Gehry, who handed a young, relatively untested glass artist an enormous amount of latitude. His description of the experience: "both rewarding and harrowing." That phrase has been rattling around in my head all week. I've lived some version of it more than once - the project that's thrilling precisely because you have no idea if you can actually pull it off. The excitement and the cold sweat are, it turns out, the same chemical. > "I lucked out," Weinstein says. "He gave me a tremendous amount of latitude, and it was, to say the least, both rewarding and harrowing." What I find quietly moving here is what Gehry actually gave him. Not mentorship in the LinkedIn sense, but room. Room to experiment, room to maybe fail a little, room to stay safe enough that the discomfort turned productive rather than paralyzing. That, I think, is what good collaboration really is - somebody trusting you past the point where you trust yourself, and inadvertently walking you straight through your own imposter syndrome. The rest of this issue hands that same trust to walls and tides and trees. But it started, for me, with one architect deciding to step back. Who gave you the latitude that turned out to be the catalyst? [Read the original article →](https://www.core77.com/posts/144132/From-Guinness-Book-of-World-Records-to-Custom-Machines?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-79) --- *THE LAST WORD* --- Thanks for spending some time with these works this week. I keep coming back to the same nagging thought: we built portability into almost everything we make, and called it progress. But the pieces in this issue can't move an inch without falling apart, and that turns out to be their whole strength. I'm genuinely curious where you land on this. Is there something you've made that only works in one place - and would you have it any other way? Hit reply and tell me. I read everything. Best, Juergen ### Going Backward to Go Somewhere New URL: https://theintersect.art/issues/78/ Last updated: 2026-08-10T18:00:47.000Z Here's something I keep noticing: the better our tools get, the harder people seem to work to make them feel familiar. A piece of software dresses itself up as a 1970s tape machine. A retro musical instrument kit ships as a bag of parts you have to solder yourself. A drawing machine swings a pendulum for ten minutes to produce one decaying spiral that any plotter could fake in a second. None of this is accidental, and none of it is purely nostalgic. The through-line in this issue is a paradox I haven't quite resolved. Every wave of new technology - the Moog, wet-plate photography, now generative AI - eventually summons a countermovement that reclaims whatever the upgrade quietly threw out. Ellen McGirt's Design Observer piece traces that pattern back further than I'd remembered, and once you see it, you see it everywhere. Sancristoforo's Homework borrowing Eliane Radigue's musical drone aesthetic. Ralf Jacobs framing his Harmonograph as furniture. The Music Thing Workshop Computer asking you to build the thing before you play it. What I'm less sure about is whether these retro gestures are genuinely moving form forward, or whether they're a comfort response - a way of slowing the metabolism when the pace of change gets too brisk to digest. Probably both, on different days. Four stories this week that orbit that question without quite landing on an answer. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *TECHNOLOGY IN MUSIC* --- ![When Software Wears a Patchbay: The Skeuomorphism Question](https://theintersect.art/content/images/2026/07/homework-mac.jpg) ## When Software Wears a Patchbay: The Skeuomorphism Question Every new software tool seems to drag its predecessor's body along behind it, refusing to let go. Synthtopia recently covered Giorgio Sancristoforo's new macOS release, **Homework** \- a standalone modular workstation bundling a four-track cassette-style recorder with two modular synths inspired by 1970s instruments, including one built around the drone aesthetic of composer Eliane Radigue. (Drones, in this context, aren't the flying kind - they're sustained, slowly-evolving tones, the kind that hum underneath a piece for minutes at a time and reward patient listening more than melodic attention.) I come at synthesis sideways. My main instrument is acoustic guitar, but I've been poking at keyboards and synths since the early days - my first was a Casio CX-1, one of the original consumer MIDI keyboards, which felt impossibly futuristic at the time. What strikes me about something like Homework isn't the sound design. It's the interface philosophy. These tools faithfully recreate the visual language of patch cables, physical knobs, hardware panels - the whole tactile vocabulary of instruments that were complex largely because the technology of the era forced them to be. > **Sonda** is a modular synthesizer designed for drones, inspired by the instrument popularized by the French composer and synthesist Eliane Radigue, featuring a very slow triple low frequency oscillator. This is skeuomorphism in its purest form - the old Apple design instinct of making software look like the hardware it replaced. I find it simultaneously fascinating and slightly absurd. The knobs don't need to be knobs anymore. The cables don't need to be cables. And yet interfaces rethought from scratch - freed from that backward-looking aesthetic, designed natively for the screen - have almost universally struggled to find an audience. Apparently we'd rather turn a virtual dial than learn something genuinely new. Which sets up the question running through this whole issue: is the familiarity of old interfaces a creative feature, or a comfort response to a pace of change we can't quite metabolize? I'm not sure I know yet. The next few pieces don't quite settle it either. [Read the original article →](https://www.synthtopia.com/content/2026/04/27/giorgio-sancristoforo-intros-homework-experimental-modular-workstation-for-macos/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-78) ![Hot-Swappable Nostalgia: What a DIY Eurorack Module Says About Where Music Is Headed](https://theintersect.art/content/images/2026/07/music-thing-modular-workshop-computer.jpg) ## Hot-Swappable Nostalgia: What a DIY Eurorack Module Says About Where Music Is Headed Synthtopia covered the release of the Music Thing Modular Workshop Computer - a small DIY kit you assemble yourself, with swappable program cards that turn it into a reverb, a sequencer, a MIDI brain, or whatever else you decide to make it. The author isn't credited by name in the piece, but the story is a tidy little artifact of something I keep circling back to: a quiet, persistent pull toward the handmade, the modular, the built-with-your-own-hands. Which, given where this issue is going, feels like exactly the right next stop after asking why our software keeps dressing up as 1970s hardware. What strikes me isn't the kit itself - it's the pattern. I was around in the 80s and 90s when synthesizers became an electronic Swiss Army knife, capable of imitating just about every instrument on earth. That felt like arrival. We've since blown past arrival into AI composition territory, where the model writes the song, picks the genre, and arguably doesn't need a human in the loop at all. And yet here we are, soldering circuit boards on a kitchen table. There's something worth sitting with in that contradiction. The question isn't whether this is regression - it's whether the act of *building* the instrument has quietly become the artistic statement. > "The Workshop Computer loads programs stored on hot-swappable custom-made program cards... four blank program cards which you can write with a downloaded file." A hundred years ago, no one would have called a Moog retro. Now we have artists hand-winding their own guitar pickups, building string instruments from scratch, and assembling modular synths the way other people assemble IKEA shelves - except with more swearing and better results. Consider a band like Angine De Portrine, producing microtonal pieces that sound genuinely alien to the Western ear, conjured by a drummer and a guitarist with a loop pedal. That's the same energy the Moog brought in its day, and the same energy this little DIY kit carries: not nostalgia for its own sake, but a deliberate narrowing of the palette as a creative choice. Where exactly does designing the instrument end and making the music begin - and is that blurry line maybe the most interesting place an artist can stand right now? [Read the original article →](https://www.synthtopia.com/content/2026/04/27/music-thing-modular-workshop-computer-available-as-a-diy-project/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-78) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![New Technology Always Forges a New Creative Path — and Then Becomes Retro](https://theintersect.art/content/images/2026/07/b7e2eda3-manual-1778310755978.png) ## New Technology Always Forges a New Creative Path - and Then Becomes Retro Ellen McGirt's piece at Design Observer opens with the Moog synthesizer as a kind of origin story for our current anxieties - and it's a good one. In 1964, orchestras and studio musicians treated the Moog as an existential threat. The American Federation of Musicians literally banned it from union productions. Sound familiar? Rachel Paese's framing reminds us that this particular panic has an embarrassingly long track record of being wrong. If the previous two pieces in this issue made the case that going backward can be a form of going forward, this one zooms out and asks the obvious follow-up: how does anything end up *retro* in the first place? The path is depressingly consistent. In photography - a medium that has died roughly a thousand deaths (we covered a few of them in issue 77) - photosensitive plates gave way to large-format view cameras, then point-and-shoots, then digital sensors, then AI image generation. Music walked the same staircase: acoustic instruments, electronic keyboards, modular synths, DAWs, and now generative audio. Each step came with its own little funeral. What I find quietly funny is that the Moog - once the villain of this story - is now the thing people reach for when they want to sound *authentic*. Artists are buying modular synthesizers specifically to make music that sounds vintage, just as photographers load expired film into old Leicas to chase a grain no algorithm has quite managed to fake. The threat becomes the texture. The disruptor becomes the heirloom. > "New technology always forges a new creative path, some of it revolutionary, some of it mundane." McGirt is right that this isn't purely a creative conversation - it's about money and gatekeeping, about who controls the new form and who gets stranded on the wrong side of it. That part doesn't soften with time the way the aesthetic anxiety does. The union ban looks quaint now; the economic displacement underneath it never quite did. Which sets up the question I keep circling, and which the next piece - a pendulum-driven drawing machine that moonlights as a coffee table - pokes at from a different angle: if today's AI tools are tomorrow's Moog synthesizers, what does that make the people currently refusing to touch them? Early adopters of a future nostalgia, or just early? [Read the original article →](https://designobserver.com/new-technology-always-forges-a-new-creative-path/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-78) --- *ART & SCIENCE* --- ![The Drawing Machine That Doubles as Furniture, Apparently](https://theintersect.art/content/images/2026/07/4db66a67.png) ## The Drawing Machine That Doubles as Furniture, Apparently Rain Noe's piece at Core77 introduces Ralf Jacobs, a Netherlands-based artist who has built a Harmonograph - a pendulum-driven drawing machine with a frictionless hinge that gives the stylus enough momentum to trace those hypnotic, slowly decaying curves you've probably seen in physics textbooks. It's genuinely beautiful to watch. What makes it unusual is that Jacobs frames the whole thing as furniture. I had a Spirograph as a kid, and I still have a soft spot for mechanical devices that make art without a screen involved. After a software synth dressed as a 1970s console, a DIY Eurorack kit, and an essay about every new technology eventually growing a retro shadow, a pendulum scratching out Lissajous figures feels like the logical terminus of this issue. Going backward to go somewhere new, indeed - and here we are, all the way back to gravity. What I can't get my head around is the furniture angle. There's a vaguely table-shaped wooden form underneath the mechanism, but you couldn't actually put anything on it - because it's a drawing machine. Calling it furniture feels like calling a violin a chair because it has legs. > "Underlying my practice is the belief that art is a form of signal processing. Each work is a relic of interaction: a transmission captured, a behavior observed, a pattern retrieved from noise." That framing from Jacobs is genuinely compelling, and I don't want to be churlish - the machine is wonderful and the outputs are beautiful. Maybe the furniture designation is the conceptual wink, the thing meant to make you pause and ask exactly the question I'm asking. Or maybe you're not supposed to "get it," and that's the point. Which is maybe where this whole issue lands. Four objects, all reaching backward - toward patchbays, toward pendulums, toward the slower hand. I don't think any of it is mere nostalgia, and I don't think it's pushing form forward in the way the press releases want to claim either. It's somewhere in between: a wager that constraint still teaches something the frictionless tool can't. I'm not sure that wager pays off every time. But I notice I keep showing up to watch. [Read the original article →](https://www.core77.com/posts/143793/Ralf-Jacobs-Incredible-Harmonograph-Furniture-That-Can-Draw-Patterns?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-78) --- *THE LAST WORD* --- Thanks for reading this week. I'm genuinely curious where you land on the retro question - whether you're someone who solders their own modules on a Sunday afternoon, runs a tape emulator on every channel without quite knowing why, or finds the whole thing a bit precious. I keep flipping on it myself, which is probably why I wrote the issue in the first place. Hit reply and tell me what's pulling you backward lately, and whether you think it's taking you somewhere new or just somewhere comfortable. I read everything, even when I'm slow to answer. Best, Juergen ### The Same Sky, Two Feelings URL: https://theintersect.art/issues/77/ Last updated: 2026-08-10T18:00:43.000Z I've been wanting to do a drone issue for a while. Kept putting it off, and it took me some time to figure out why. Part of it is that drones stopped feeling innocent to me somewhere around 2022\. The same swarms that choreograph light shows over stadiums are now coordinating strikes over Kyiv. That's not a metaphor - it's the same technology, sometimes literally the same hardware. Once you know that, you can't fully unknow it, and the aerial photograph of a fog-filled Norwegian valley carries a little more weight than it used to. But I also didn't want to write a eulogy. The wonder was real. Filip Hrebenda's "The Gate" still stops me cold. So does DRIFT's swarm at LACMA. The delight happened, and it mattered. What I eventually realized is that the drone story isn't really about drones. It's about a pattern - one that Cory Doctorow has a word for, and one that the stories in this issue will trace better than I can in an intro. The articles will do the talking. I just wanted to say: I felt it too, the before. That's why the after stings. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Drone Photography's Quiet Joy, Before the Swarms Ruined It](https://theintersect.art/content/images/2026/07/DJI-Skypixel-winners.jpg) ## Drone Photography's Quiet Joy, Before the Swarms Ruined It Jaron Schneider's roundup at PetaPixel covers the 11th annual DJI SkyPixel competition - 95,000 submissions, 96 countries, $200,000 in prizes, and some genuinely stunning aerial imagery. The standout winner, Filip Hrebenda's "The Gate," shows a lone figure perched on a natural stone arch above a fog-filled Norwegian valley at sunrise. It's the kind of image that stops you cold. I'll admit it triggered a wave of nostalgia. Before commercial drones existed, I was deep into kite aerial photography - and I mean *deep*. I built self-leveling camera platforms from kits I'd found online, rigged remote controls, even broadcast live images back down to the ground. It was genuinely fun to build and genuinely maddening to fly. The images were... let's say "charming" compared to what a Mavic 3 Pro produces in ten minutes. Which is sort of the story of my creative life: darkroom photographer in 1980s New York, watching Photoshop eat special effects work whole; 8x10 view cameras superseded by digital almost overnight; kite rigs replaced by drones; and now AI that can hallucinate a fog-drenched Norwegian arch if you describe it carefully enough. > "The natural stone arch, resembling a monumental gate carved by time, stands suspended above a deep valley, surrounded by rugged cliffs and distant mountain silhouettes emerging from the sea of mist." What I find genuinely complicated now is that "drone art" has bifurcated. There's the mass swarm spectacle - hundreds of synchronized drones replacing fireworks - and my enthusiasm for that has been thoroughly dampened by watching autonomous drone swarms operate in Ukraine. Organized, autonomous, lethal. Hard to unsee. So when an image like Hrebenda's shows up, it pulls me back to what excited me in the first place: that singular bird's-eye perspective that earthbound photographers had been denied for centuries. Is that joy still available, or does it now come with an asterisk? [Read the original article →](https://petapixel.com/2026/04/27/11th-annual-dji-skypixel-winners-showcase-spectacular-aerial-sights/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-77) ![The Web at 30: From Cyber-Utopia to Enshittification in Real Time](https://theintersect.art/content/images/2026/07/91a90ea9.png) ## The Web at 30: From Cyber-Utopia to Enshittification in Real Time Christopher Sonnleitner's piece on the Ars Electronica Blog traces the World Wide Web's arc from 1990s democratization dream to AI playground - and the throughline is depressingly consistent. The same tech corporations, the same extractive business models, the same pattern of promising utopia and delivering something considerably grimmer. Ars Electronica is marking its own 30th anniversary this year, which gives the piece a useful historical vantage point: they opened in 1996 when there were 260,000 websites worldwide. Now there are billions, and somehow we have less. This is where Cory Doctorow's concept of enshittification keeps coming up in my own thinking - the deliberate, staged degradation of services to maximize profit once users feel locked in. Free and delightful at first, then the walls close in, then the ads multiply, then the experience quietly rots. > *"Every computer we know how to make is capable of running every computer program we know how to write. \[…\] The implications of this universality are really the story of the past 40 years."* \- Cory Doctorow, *Enshittification* (2026) What's unsettling is that I'm watching this happen with AI tools in something close to real time. I use Claude Code for project work, and I can already feel the subtle degradations creeping in - the responses that feel slightly more hedged, the capabilities that seem quietly throttled. The lock-in is nearly complete before the enshittification even begins in earnest. So here's what I keep turning over: if we already know the pattern, why do we keep walking into it? [Read the original article →](https://ars.electronica.art/aeblog/en/2026/04/09/big-dreams-and-other-challenges-the-world-wide-web/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-77) ![22,580 Drones Paint the Sky — and I Can't Decide How to Feel About It](https://theintersect.art/content/images/2026/07/drone-light-show-record-fb.jpg) ## 22,580 Drones Paint the Sky - and I Can't Decide How to Feel About It Regina Sienra's piece at My Modern Met covers a genuinely jaw-dropping achievement: Chinese company Guangdong EHang Egret Media Technology launched 22,580 drones simultaneously over the city of Hefei as part of the 2026 Spring Festival Gala, smashing the previous record of 15,847 and programming the swarm to depict Hui-style architecture and lanterns that appeared to sway in the wind. The precision involved is almost incomprehensible. Here's the thing - I'm actually a federally licensed commercial drone operator, so this topic lands differently for me than it might for most people. My love affair with aerial perspective started long before drones existed, with kite aerial photography: a home-built rig, a self-balancing camera platform, a hacked handheld TV as a live viewfinder, and me wandering Jersey Shore beaches looking slightly unhinged. When consumer drones arrived, I was instantly converted. I'd strap my whole drone kit to my motorbike and cruise northern New Jersey hunting for interesting angles. It was pure, uncomplicated joy. > "By weaving Lunar New Year blessings into the performance, EHang Egret pioneered a new expression of integrating low-altitude technology with cultural storytelling." That framing is lovely, and I don't doubt the artistry. But I can't watch drone swarms anymore without the image splitting in two - spectacular light show on one side, autonomous weapons over Ukraine on the other. The same technology, the same choreography logic, radically different payloads. My perspective on aerial photography hasn't just shifted; it's been permanently complicated. Is it still possible to watch 22,580 drones glitter in unison and feel only wonder - or has that window quietly closed? [Read the original article →](https://mymodernmet.com/guinness-world-record-drone-show/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-77) ![When Drone Swarms Delight and Destroy](https://theintersect.art/content/images/2026/07/DRIFT-franchise-freedom-LACMA-designboom-700-500x400-22b08q85r663.png) ## When Drone Swarms Delight and Destroy Kat Barandy's piece at Designboom covers DRIFT's *Franchise Freedom* \- a swarm of over 1,000 illuminated drones choreographed above LACMA's newly opened David Geffen Galleries, designed by Peter Zumthor. The piece draws a tidy conceptual parallel between the drones' leaderless, murmuration-inspired logic and the gallery's own horizontal, hierarchy-free architecture. It's genuinely beautiful work, and the write-up does it justice. But I'll be honest: my relationship with drone swarm spectacles has gotten complicated. I remember the first few times I saw one - that genuine sense of wonder at something that felt alive without being alive. That response has been quietly corroded by three-plus years of watching swarm-based autonomous weapons reshape warfare in Ukraine. It's hard to watch a thousand glowing drones pulse and wheel overhead without some part of your brain filing it under a different category now. > "No single drone directs the composition. Form emerges through proximity and response, with each unit maintaining awareness of the group." Which made me think about fireworks - another crowd-pleasing spectacle with a thoroughly military origin that we've collectively agreed to just... not think about. We compartmentalize remarkably well when something is pretty enough. Maybe that's fine. Maybe that's how culture works. Or maybe the question of what we're actually celebrating when we watch machines swarm in perfect coordination deserves at least a moment's pause before the applause. [Read the original article →](https://www.designboom.com/art/drift-lacma-galleries-opening-glowing-swarm-dancing-drones-los-angeles/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-77) ![Skeletor Trolls Traffic While Drone Swarms Reshape Warfare](https://theintersect.art/content/images/2026/07/MOTU-Drone-8.jpg) ## Skeletor Trolls Traffic While Drone Swarms Reshape Warfare Nerdist's coverage of the new *Masters of the Universe* drone show - 400 synchronized drones trolling gridlocked Coachella-bound drivers with Skeletor's immortal burn, "SHOULD HAVE LEFT EARLIER" - is genuinely charming. I'll give it that. But as someone who holds a commercial drone operator's license and spent years as a photographer obsessing over aerial perspective, I can't look at a drone show without immediately doing the uncomfortable math. What strikes me every time I see American drone displays is how thoroughly they expose the gap between US and Chinese swarm technology. China routinely deploys thousands of drones in formations of staggering complexity. This MOTU show, operated by Heads in the Sky, fields 400 drones and spells out He-Man puns. That's not a criticism of the creativity - it's a symptom of something bigger. > "SHOULD HAVE LEFT EARLIER" - Skeletor, drone philosopher, 2026 Because drone swarms are now permanently colored, for me, by their role in Ukraine, where autonomous swarms have quietly rewritten the future of warfare. That's the context I can't unsee. And it's why I find myself supporting Anthropic specifically because of its resistance to making its technology available for autonomous killing machines - a line OpenAI, despite its original human-benefit mission, seems to have cheerfully abandoned in its eagerness to partner with the US government on surveillance and battlefield applications. "Legal" isn't the same as "right," especially when legality is only intact because Congress can't agree on lunch. Is it strange that a Skeletor joke sent me here? Probably. But that's what happens when the same technology writes movie ads and rewrites rules of engagement. [Read the original article →](https://nerdist.com/article/masters-of-the-universe-drone-show-california-highway/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-77) ![When Your Doctor's Office Listens for Palantir](https://theintersect.art/content/images/2026/07/8e1a66dc-reposition-1776710983810.png) ## When Your Doctor's Office Listens for Palantir Neural Magazine's piece on Wesley Goatley's *The Harbinger* caught my attention precisely because it sits in territory we rarely discuss: AI not as image-maker, but as ear. Goatley constructs a scenario where Palantir - yes, that Palantir - expands its NHS contract until a smart speaker occupies every GP's office, listening, analyzing, branding the whole thing "automated care." The piece is speculative art, but only barely. > There is a bearable level of surveillance and then that which is unbearable. This threshold of what is bearable has shifted significantly over time to accommodate more surveillance. Most of our conversations about AI in creative and tech circles orbit generative imagery. What gets far less airtime is AI as surveillance infrastructure - and that asymmetry bothers me. It's worth noting that Anthropic has recently pushed back against government requests to deploy Claude for mass surveillance and autonomous military applications. I genuinely admire that stance, even as I'd obviously prefer actual regulatory frameworks over corporate goodwill standing between us and the panopticon. That's exactly why art like Goatley's feels so necessary right now - it makes the abstract uncomfortably concrete. What does it sound like when your healthcare system is also listening? [Read the original article →](https://neural.it/2026/04/the-harbinger-automated-care/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-77) --- *THE LAST WORD* --- Thanks for reading this week - and for sitting with something that doesn't resolve neatly. I keep coming back to that question of when exactly the sky started feeling different, and I genuinely don't know if it's the technology that changed or just me. If you have a moment, hit reply and tell me: is there a specific image, or a specific news story, where the shift happened for you? I'm curious whether this lands differently depending on where you live under that sky. Best, Juergen ### This Medium Always Survives Its Own Funeral URL: https://theintersect.art/issues/76/ Last updated: 2026-08-10T18:00:38.000Z Every medium gets a funeral eventually. Photography has had several - one for film, one for the darkroom, one for photojournalism's claim on truth, and now, apparently, one for the camera itself. What I find strange is not that the funerals keep happening. It's that photography keeps showing up to its own memorial looking slightly smug. I've been sitting with a particular tension while putting this issue together. On one side: AIPAD's Photography Show, 77 galleries strong, vintage prints back to 1917, the whole thing exuding the calm authority of an institution that has outlasted every crisis and expects to outlast this one too. On the other: photographers who've put down their cameras entirely, working with photocopiers and chemistry and the irreducibly physical, precisely because the camera's relationship to truth has gotten complicated in ways that feel new. And then somewhere in the middle: Lartigue, who shot 120,000 images and spent a lifetime being remembered for a carefully curated fraction of them - a reminder that the story a medium tells about itself is always, always edited. What I want to do in this issue is follow that thread without tying it off neatly. There's work here about digital doubles and VFX logic applied to fine art photography, a kinetic film about the inventors nobody remembers, and a fair that knows exactly what it wants to say. Whether those things add up to a coherent picture of where photography stands - I genuinely don't know. That's sort of the point. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *FILM & VIDEO* --- ![A Kaleidoscopic Ode to the Forgotten Parents of Film](https://theintersect.art/content/images/2026/07/7683fa2f.jpg) ## A Kaleidoscopic Ode to the Forgotten Parents of Film María Lorenzo's short film *Impromptu*, featured on Aeon Video, is a propulsive visual history that refuses to behave like one. Drawing on animated styles, archival footage, and references spanning zoetropes to the Lumière brothers to Eadweard Muybridge, the Spanish director builds something that feels simultaneously rigorous and gloriously unruly - a tribute to what the film calls 'the forgotten parents of film.' I included this here because elsewhere in this issue we're already poking at the history of still photography and the cyclical upheavals that medium keeps triggering. Moving images are no different. CGI changed what film *looked* like. AI is now changing what film *feels* like - and, frankly, what it's like to be a human actor inside one. The historical arc from a spinning zoetrope to a synthetically generated face is shorter than it's comfortable to admit. > The result feels deeply researched and yet - as the title hints at - somewhat informal, prioritising the kinetic power of moving images over a more formal exploration of their history. Which is maybe exactly the right approach when the history itself is so kinetic. When does a tribute to the past become a way of reckoning with the present? [Read the original article →](https://aeon.co/videos/a-propulsive-ode-to-the-forgotten-parents-of-film?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-76) --- *PHOTOGRAPHY* --- ![History in Technicolour: Lartigue's Hidden Color Archive Finally Sees the Light](https://theintersect.art/content/images/2026/07/2ddcb06e.png) ## History in Technicolour: Lartigue's Hidden Color Archive Finally Sees the Light Aesthetica Magazine covers a major new exhibition at MK Gallery dedicated to Jacques Henri Lartigue - and it's one worth paying attention to. *Life in Colour* presents over 150 photographs and drawings, many never publicly shown before, revealing a side of the pioneering French photographer that most people simply don't know exists. Lartigue is remembered almost exclusively for his black-and-white work, yet colour photographs account for roughly a third of his 120,000-image archive. That's not a footnote - that's a hidden chapter. What I find genuinely enjoyable about this is how neatly it fits a pattern I keep noticing in photography's history. Every new development gets announced as the death of whatever came before. Photography was supposedly the death of painting. Colour was the death of black and white. Digital killed film. The smartphone killed the camera. And yet here we are, looking at colour photographs from the early 20th century that somehow survived all of those funerals. > "I have never taken a picture for any other reason than that at that moment, it made me happy to do so." Lartigue said that, and it's the kind of quote that quietly dismantles about a dozen anxious arguments at once. He wasn't trying to kill anything - he was just paying attention to what delighted him, including colour at a time when the process was technically demanding and deeply unfashionable among purists. So what does the next supposedly fatal technology actually bury - or does it just keep adding rooms to a house nobody thought needed expanding? [Read the original article →](https://aestheticamagazine.com/history-in-technicolour/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-76) ![When Photographers Ditch the Camera to Fight Back Against AI](https://theintersect.art/content/images/2026/07/oXRN6rNJXofePQMzAJUMRQ-2Fgraf.png) ## When Photographers Ditch the Camera to Fight Back Against AI Alina Cohen's piece at Artsy Editorial traces a quiet but pointed resurgence: photographers abandoning the camera entirely, returning to photograms, expired paper, darkroom chemistry, and photocopiers. The timing is not accidental. As AI-generated images flood every feed and public trust in photography-as-document quietly collapses, a growing number of artists are leaning hard into the opposite direction - process, materiality, unpredictability, the irreducibly physical. What strikes me is that none of this is actually new. Man Ray was placing thumbtacks and wire coils on photosensitive paper in 1920s Paris. Solarization, photograms, direct chemical printing - these have been in the toolkit for over a century. What *is* new is the context. When Mariah Robertson describes shaping light with her hands and a piece of cardboard, blindfolded, gambling on the result, that's not nostalgia. That's a deliberate counter-move against frictionless image generation. > "Artists who work in camera-less modes are often drawn to the medium's ability to foreground process and materiality. By removing or altering the camera, they engage photography at its most elemental - light, time, surface - while also questioning ideas of authorship, representation, and control." What I find genuinely compelling here is how *painterly* this work looks. There's a texture and presence to a chromogenic photogram folded into sculptural relief that no prompt can replicate - not because AI lacks the skill, but because the whole point is the trace of a human hand, the accident, the chemistry doing something unexpected at 2am in a garage darkroom. If AI images are the ultimate optimized output, is the future of photography deliberately, stubbornly unoptimized? [Read the original article →](https://www.artsy.net/article/artsy-editorial-contemporary-photographers-rejecting-camera?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-76) ![What Photography's Biggest Fair Isn't Talking About](https://theintersect.art/content/images/2026/07/18ed64c9-reposition-1776828621782.png) ## What Photography's Biggest Fair Isn't Talking About The Artnet Gallery Network's preview of the Photography Show 2026 - AIPAD's 45th edition, landing at the Park Avenue Armory April 22–26 - reads as a confident, expansive survey of where lens-based photography stands today. Seventy-seven galleries, vintage prints dating to 1917, emerging dealers from Paris to Los Angeles. The whole thing radiates a kind of sure-footed institutional confidence that photography, as an art form, knows exactly what it is. What I find genuinely strange, though, is what's entirely absent from the conversation: AI-generated imagery. Not a whisper. And I'm honestly not sure whether to read that as admirable discipline or willful avoidance. I did notice the term "lens-based photography" cropping up - apparently a phrase now doing quiet work to draw a line between photographs made through a lens and... something else, left conveniently unnamed. > "The selection of exhibitors presenting at the 2026 edition of the fair offers an incisive look at how the field continues to develop today - and offers a glimpse at a possible future." That future, presumably, does not include synthetic images. Which is a choice. A defensible one, maybe. But photography has spent decades as the medium we trusted to tell us what actually happened - and that social contract is now genuinely fragile. Skipping the AI conversation entirely feels less like confidence and more like a polite agreement not to look out the window. Is "lens-based" doing enough heavy lifting to hold the definition together, or is the photography world just hoping the question goes away on its own? [Read the original article →](https://news.artnet.com/art-world/the-photography-show-aipad-2-2765166?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-76) ![When the Camera Blinks Back: Carlo Zappella's Digital Doubles](https://theintersect.art/content/images/2026/07/894fdc73-reposition-1776711024267.jpg) ## When the Camera Blinks Back: Carlo Zappella's Digital Doubles Art Viewer's coverage of Carlo Zappella's *Digital Doubles* at Horizont Gallery in Budapest caught my eye - and honestly, it's a relief to encounter work about analog-digital tension that doesn't take itself too seriously. Zappella, a Vienna-born photographer who studied Fine Art Photography at the University of Applied Arts Vienna, mixes photographs, 3D renderings, and sculptures in a show that borrows its logic from VFX production: that moment when a camera shot hands off seamlessly to a digital double, and you can't quite tell where reality clocked out. What I find genuinely refreshing here is the playfulness. Photography can be such a solemn medium - burdened with indexicality debates and authenticity hand-wringing - and Zappella just... isn't having any of that. The work aims, per the exhibition notes, to evoke > the feeling of "breaking the fourth wall" - that moment in theater or film where the production consciously acknowledges the audience through direct address. The curatorial framing gestures at weighty ideas about perception and selfhood, and sure, fine. But honestly? I don't need the highfalutin language about reflection of the self. The fun of it is enough for me. Is it possible that sometimes the most interesting thing art can do with technology is just wink at you? [Read the original article →](https://artviewer.org/carlo-zappella-at-horizont-gallery-budapest/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-76) --- *THE LAST WORD* --- Thanks for reading this one. Photography's relationship to its own mortality is something I find genuinely hard to resolve - and I'm not sure I tried very hard to resolve it here, honestly. If you're working somewhere near this territory - as an artist, a technologist, someone who just cares about what images mean - I'd be curious what you make of it all. Hit reply. I read everything. Best, Juergen ### Wrenches, Paper, Waste: Organic Holds its Ground URL: https://theintersect.art/issues/75/ Last updated: 2026-08-10T18:02:55.000Z There's something quietly stubborn happening in studios right now, and I keep running into it. Manabu Kosaka builds paper replicas of vintage cameras so precise that the film advance lever actually moves. Iyo Hasegawa stacks wrenches into furniture that can be disassembled back into a toolbox. Issey Miyake's studio turns pleating scraps into chairs. These aren't people who ran out of conventional materials. They're people making a point - about patience, about process, about the stubborn insistence that how you make something is inseparable from what it means. I'm not sure any of them would frame it that way, which is probably why it lands. What strikes me is that none of this is precious in the way that word usually implies. Zim & Zou reconstruct boomboxes from hand-cut colored paper - every speaker grid, every cassette reel - and it reads less like nostalgia than like a mild act of defiance. Rushera takes discarded plastic and melts it into coral-like forms, which is either hopeful or devastating depending on how long you sit with it. The materials in this issue are humble, often waste, occasionally ridiculous. The results are anything but. This week I'm thinking about what it means to resist the path of least resistance - and whether that resistance is itself becoming a kind of aesthetic. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *DEFINITELY NOT AI* --- ![Wrenches as Art: The Most AI-Proof Objects in the Room](https://theintersect.art/content/images/2026/07/f382a168.png) ## Wrenches as Art: The Most AI-Proof Objects in the Room Rain Noe's piece at Core77 covers Japanese artist Iyo Hasegawa's *Wrench* furniture series - chairs and tables built from stacked offset wrenches threaded onto rods, held together with washers and nuts, no glue, no welding. The whole thing is reversible: disassemble it, and you've got a toolbox again. Here's the subversive read I can't stop thinking about. We're drowning in conversation about which creative jobs AI will absorb next - graphic design, copywriting, illustration, music. And yet the one category that seems genuinely, structurally immune is anything involving a wrench. Mechanical service. Physical craft. The kind of work where the material pushes back. Hasegawa's furniture sits squarely in that territory, and I find that quietly satisfying. > The main material used in the work, the offset wrenches, is not glued or welded and is not fixed in place, allowing the wrench to "twist" freely. This flexibility enables the wrenches to be transformed into any shape. Additionally, they can be folded into a flat form for convenient storage and transportation. If I were curating a "definitely not AI" shelf in a design gallery, this would be on it - not because it's anti-technology, but because it's rooted in material resistance, in the specific stubbornness of a tool designed for torque. The pieces are sold through Copenhagen-based gallery Adorno, which feels right for work this pleasantly obstinate. Is the most future-proof art the kind that requires a wrench to make? [Read the original article →](https://www.core77.com/posts/143791/Iyo-Hasegawas-Wrench-Based-Furniture?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-75) --- *SCULPTURE* --- ![Manabu Kosaka's Paper Sculptures Turn Retro Tech Into Something Uncanny](https://theintersect.art/content/images/2026/07/c58d8931.png) ## Manabu Kosaka's Paper Sculptures Turn Retro Tech Into Something Uncanny Kate Mothes' piece at Colossal introduced me to Manabu Kosaka, a Japanese artist who builds hyperrealistic scale replicas of vintage cameras, radios, game consoles, and watches - using nothing but paper. Not paper as shorthand for "simple." Paper as in: the film advance lever on his 35mm camera replica actually moves. The back hatch opens. The internal gears are in there. All of it, paper. I've heard of the Paper Tiger, but Paper 80s Tech is genuinely a new category for me. What's interesting is that we recently featured an artist crocheting large-scale versions of Game Boys and flip phones, and Kosaka slots right alongside that impulse - this urge to render obsolete technology in a completely wrong material, slowly, by hand, with almost aggressive patience. There's something quietly defiant about it. > "What I love most about paper is its incredible flexibility. It responds to my ideas almost completely - beyond what I expect, even. It allows me to express what I want in a very direct way, while also feeling that it can become almost anything." He's currently building a PlayStation 2, which came out in 2000 and is now apparently vintage enough to memorialize in sculpture. That detail aged me considerably. Why do we keep reaching for soft, handmade materials to honor the hard, mass-produced objects of our childhoods - and what does it say that the replicas feel more emotionally true than the originals? [Read the original article →](https://www.thisiscolossal.com/2026/04/manabu-kosaka-paper-sculptures-technology/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-75) ![Zim & Zou Turn Boomboxes and Cassette Tapes Into Paper Sculptures](https://theintersect.art/content/images/2026/07/516f39f1.png) ## Zim & Zou Turn Boomboxes and Cassette Tapes Into Paper Sculptures Matthew Burgos at Designboom covered something I couldn't scroll past: French design duo Zim & Zou - Lucie Thomas and Thibault Zimmermann - have reconstructed vintage boomboxes and cassette tapes entirely from hand-cut, hand-folded colored paper. Every speaker grid, every slider, every tiny reel inside each cassette tape: paper. The series is called *Back to Basics II*, and it's exactly as obsessive and delightful as that sounds. We've been featuring a fair amount of "retro tech" art here lately, and I keep asking myself why it keeps showing up - and why I keep being drawn to it. There's something genuinely interesting happening when artists reach backward for the objects that technology has already discarded. The boombox is dead. The cassette tape is a novelty. And yet here they are, reborn in a medium even more fragile and ephemeral than magnetic tape. > "The series also shows a contrast between time periods because these objects come from the past, but the technique to bring them to life as handmade paper sculptures is current." That juxtaposition - anachronistic subject, very present-tense craft - is what makes this land for me. It's not nostalgia exactly. It's more like archaeology done in the wrong material on purpose. Paper shouldn't be able to hold all that detail, and yet it does, which makes you look harder at both the sculpture and the original object it's imitating. Is there something about living through accelerating tech cycles that keeps sending artists back to the hardware we've already outgrown? [Read the original article →](https://www.designboom.com/art/zim-zou-vintage-boombox-cassette-tapes-handmade-paper-sculptures/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-75) --- *SUSTAINABILITY IN ART AND TECH* --- ![Recycled Plastic Finds Its Form in Coral-Inspired Sculpture](https://theintersect.art/content/images/2026/07/d0b57d75.png) ## Recycled Plastic Finds Its Form in Coral-Inspired Sculpture Eui ju's piece at Designboom covers rushera, a sculptural accessory series from Seoul-based design studio Object with Name and material manufacturer Plastic Bakery. The project takes discarded plastic and, through controlled melting, casting, and cooling, coaxes it into forms that reference coral and marine organisms - which is either a beautiful irony or a painful one, depending on your mood. > Variations in temperature, pressure, and cooling generate unpredictable patterns, which are retained as a defining characteristic of each object. This approach positions the material's inconsistency as a design parameter rather than a limitation. This resonates with me because I work with an organization called Sugar Press Arts - they just celebrated their 10th anniversary - and their whole practice is built around recyclable, environmentally friendly papers and printing techniques. Watching them operate, I've come to believe that material constraints aren't obstacles to good work; they're often the reason good work gets made. The rushera project feels like the same logic applied to plastic waste: the imperfection isn't something to apologize for, it's the point. The recycled-materials-as-art conversation deserves year-round attention - not just a polite nod during Earth Week - so what would it take for this kind of thinking to become the default in design, rather than the exception? [Read the original article →](https://www.designboom.com/design/recycled-plastic-sculptural-coral-maritime-inspired-accessories-object-with-name-plastic-bakery/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-75) ![Issey Miyake Turns Pleating Waste Into Furniture Worth Keeping](https://theintersect.art/content/images/2026/07/4b028740.png) ## Issey Miyake Turns Pleating Waste Into Furniture Worth Keeping Tim Spears' piece at Designboom previews 'The Paper Log: Shell and Core,' an installation Issey Miyake's MIYAKE DESIGN STUDIO and Spanish architecture office Ensamble Studio are showing at Milan Design Week 2026\. The concept is disarmingly simple: those compressed 80cm paper cylinders left over from Miyake's signature pleating process - previously destined for the bin - get reimagined as furniture and sculptural objects. Each one is unique, its colors absorbed from whatever garments were being pleated that day, heat and pressure leaving a kind of accidental record. Honestly, I find this refreshing precisely because it has nothing to do with AI. No generative models, no diffusion pipelines, no prompts. Just a sharp eye noticing that industrial byproduct looks remarkably like a tree log - and then asking what that log might become. > "The exhibition is about giving different lives or materialities to the same material, but in both explorations, we are trying to keep the memory that is structurally embodied in the paper. When we just unfold it and give it form, it still expresses the spirit of Issey Miyake." Ensamble Studio's Shell series even draws on Michelangelo's Pietà as a reference for how folds shape form - which is exactly the kind of art-meets-materials thinking I want more of in design conversations. What does it say about where we are that a project this quietly inventive feels almost radical? [Read the original article →](https://www.designboom.com/design/issey-miyake-ensamble-studio-paper-logs-milan-design-week-2026/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-75) --- *THE LAST WORD* --- Thanks for reading this week. I keep coming back to this question of whether making things slowly and deliberately - with your hands, with waste, with patience - is a genuine resistance or whether it's already been absorbed into its own kind of aesthetic category. I'm not sure I know the answer, and I'm not sure I trust anyone who does. If any of this is landing differently for you - especially if you work with physical materials yourself - I'd genuinely love to hear about it. Hit reply. Best, Juergen ### Meaning at the Threshold URL: https://theintersect.art/issues/74/ Last updated: 2026-07-14T16:29:51.000Z I've been thinking about thresholds lately. Not metaphorically — literally. The hospital bedside. The capsule hatch before you leave Earth's orbit. The moment a body's own electrical signals become visible as color and form in space. These are places where the ordinary instruments of meaning-making — language, image, institutional authority — start to feel inadequate, and something else has to step in. What's strange is how often technology shows up at exactly these moments, not as a replacement for human presence but as a kind of witness. A mobile printing press that gives a dying patient one last authored object. A photography curriculum that tries to prepare astronauts to document something no camera operator has ever had to frame before. A system that translates brainwaves into ink because apparently the body has things to say that the mouth can't. I'm genuinely not sure whether this is technology at its most humane or its most presumptuous — and I suspect the honest answer is both, depending on the day. Meanwhile, the question of who gets to make meaning at all is very much in play this week. An argument about postdigital museums and the decline of the stodgy institutional gatekeeper. A case study in what happens when the tools of fabrication are applied to women whose real faces we have, whose real lives we have, whose real history we have — and someone reaches for the generate button anyway. I don't think these stories are unrelated. This issue is my attempt to find out how. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *DATA DRIVEN ART* --- ![When the Body Becomes the Brush](https://theintersect.art/content/images/2026/07/53426ae0.jpg) ## When the Body Becomes the Brush Most tech-meets-art stories follow a familiar arc: artist picks up new tool, makes interesting thing, critics argue about whether it counts as art. "Life Ink" doesn't bother with that arc. Writing for the Ars Electronica Blog, Mario Schmidhumer profiles a project from Ars Electronica Futurelab that captures brainwaves and physiological signals in real-time and renders them as three-dimensional streams of ink — color, form, and motion generated directly from the body's own biological data. What stopped me here wasn't the technology itself, impressive as it is. It was the inversion. So much of what I cover is technology *being used* by artists. This is something different — technology *revealing* the artist, making the invisible process of creation spatially perceptible to an audience. The finished work isn't the point; the generative act is. > Creative expression thus extends beyond the finished artwork; the generative process itself becomes a shared and perceptible phenomenon. That's the kind of story I want to keep surfacing for this newsletter. Not "here's a cool tool" but "here's a project that reframes what making something actually means." Hideaki Ogawa, Artistic Director of Futurelab, calls it a reimagining of ink itself — which sounds like hype until you watch someone's concentration states bloom into three-dimensional form in real time. So: if the process is the artwork, what exactly is the artist signing? [Read the original article →](https://ars.electronica.art/aeblog/en/2026/04/08/cutting-edge-when-inner-processes-become-visible/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-74) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![A Mobile Printing Press That Captures the Last Things People Need to Say](https://theintersect.art/content/images/2026/07/0d0d7019.png) ## A Mobile Printing Press That Captures the Last Things People Need to Say There's a particular kind of art project that stops you mid-scroll — not because it's visually arresting, but because it quietly addresses something most of us spend enormous energy not thinking about. Irish artist John Conway has built a mobile printing press, designed to be wheeled to a hospital bedside, that lets patients near the end of their lives compose and print their final thoughts. Dezeen covered the project, which grew out of a Creative Ireland residency at Naas General Hospital — and the craft of the thing is genuinely considered: wooden drawers, a curated vocabulary of roughly 200 care-related word blocks, a pull-out drying rack. I'll be honest — this one hit me somewhere specific. I lost my mother to a sudden, severe stroke. The incapacitation was quick and total, and she ended up in hospice before any of us had really processed what was happening. There are so many conversations I never got to have with her. Conway's press wouldn't have worked for her — she was beyond that — but reading about it made me think about what I would want to leave behind. What's the last true thing you'd want to put on paper? > "In a lot of cases, the artworks might be the last thing these people put down on paper, or the ultimate statement to a loved one, so there's an urgency and importance to capturing what they have to say." What I find quietly remarkable is Conway's design philosophy: he spent months at the hospital *not* making art first, just listening. That instinct — to resist the urge to produce — feels almost countercultural right now, when every tool promises to generate something immediately. In a world drowning in frictionless output, what does it mean that one of the most meaningful creative acts might be choosing 200 words very carefully, with whatever time you have left? [Read the original article →](https://www.dezeen.com/2026/04/13/john-conway-mobile-printing-press-hospitals/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-74) ![From the Benito Bowl to the Postdigital Museum: Who Gets to Make Meaning Now?](https://theintersect.art/content/images/2026/07/dbba0eb9.jpg) ## From the Benito Bowl to the Postdigital Museum: Who Gets to Make Meaning Now? Tracy Stum's piece at AMT Lab maps a genuinely interesting arc — from street painting festivals to the Super Bowl halftime show to whatever we're calling the "postdigital" museum — and argues that cultural meaning-making has migrated away from institutional gatekeepers toward something more communal. This resonates with me more than I expected. The stodgy curator who knows better than everyone else — that figure is genuinely fading, and I don't think we should mourn it too loudly. What strikes me is how popular culture, as gloriously weird and chaotic as it can be, now does the meaning-making work that last-century art institutions simply can't fill. The Benito Bowl wasn't just a halftime show; for a lot of people it was a genuine cultural event that gave them context, connection, and something to carry forward. That's not nothing. > "Weil envisioned a 'kaleidoscopic' future in which the institution evolves 'from being about something to being for somebody.'" The harder question I keep circling is how you bridge that gap — between popular culture doing its sprawling, resonant, sometimes baffling thing, and the deeper historical timelines of both Eastern and Western artistic traditions, their diasporas, their contradictions. Not to subordinate one to the other, but to let them actually talk. Is there a version of the postdigital museum that holds both without flattening either — or are we just hoping the algorithm figures it out for us? [Read the original article →](https://amt-lab.org/blog/2026/4/toward-a-polyphonic-ecosystem-mapping-audience-engagement-from-the-benito-bowl-to-the-postdigital-museum?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-74) --- *PHOTOGRAPHY* --- ![Astronauts Who Can Actually Frame a Shot? NASA's Photography Program Delivers](https://theintersect.art/content/images/2026/07/f1f0d1e1.jpg) ## Astronauts Who Can Actually Frame a Shot? NASA's Photography Program Delivers Matt Growcoot's piece at PetaPixel — drawing on a Reuters report and an RIT feature — digs into the surprisingly rigorous photography training NASA puts Artemis II astronauts through. We're talking 20 hours of dedicated instruction, mock Orion capsule setups, and a giant inflatable Moon hanging in the dark. Not exactly a weekend workshop at your local camera shop. Here's where it gets personal for me. I was a professional photographer in the special effects industry in New York through the mid-80s and into the early 90s, and I taught photography classes too. So when I read this, my first instinct was: photography is almost certainly the last thing on an astronaut's training checklist. You'd assume they just grab a camera and point it at the Moon. The idea that NASA is actually teaching composition, depth of field, how to *see* and *frame* in one of the most extreme contrast environments imaginable — that genuinely stopped me. > "Most people can use a camera and get a photo that is good enough, but good enough isn't what we're after scientifically," trainer Katrina Willoughby tells RIT. "Being able to understand how to use the equipment and what the options are gives us a lot more capability." That quote could hang on the wall of any photography class I ever taught. The pressure these astronauts must have felt — carrying all that technical and scientific responsibility while also being expected to nail the shot, first time, no retakes — is something I find both humbling and quietly thrilling. What does it say about photography as a discipline that even rocket scientists need to be taught how to *look*? [Read the original article →](https://petapixel.com/2026/04/15/nasas-photography-trainers-say-artemis-ii-astronauts-exceeded-their-expectations/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-74) --- *ART AND POLITICS* --- ![A Shining Example of How Not to Use AI](https://theintersect.art/content/images/2026/07/67a6743a.jpg) ## A Shining Example of How Not to Use AI Matt Growcoot's piece at PetaPixel covers the backlash Education Secretary Linda McMahon received for using AI-generated images in a series of Truth Social posts honoring historical women like Ida B. Wells, Susan B. Anthony, and Sojourner Truth. The kicker: real photographs of these women exist. McMahon didn't need to fabricate anything. She just did anyway, complete with a "Photo by Gemini" credit that somehow makes it both more honest and more baffling at once. I'll be direct: this doesn't have much to do with art, and I wouldn't call what McMahon did any kind of creative practice. What it is, though, is a near-perfect case study in how not to use AI. The person running the country's educational system is generating historically inaccurate imagery — Wells depicted writing with a quill pen by candlelight, when metal pens and gas lamps were the norm in her era — and posting it without apparent concern for what that signals. > "The decision to use an AI-generated image undermines the very values she stood for: truth-telling and her lifelong campaign against false representations," says Paula Giddings, who wrote a biography on Wells, speaking to *The Washington Post*. If a regular person posted fabricated "historical" imagery without disclosure, social media would come for them. When the Education Secretary does it, it just... happens. That asymmetry bothers me more than the images themselves — so what does it say about our relationship with AI when the people setting educational standards can't be bothered to model basic source integrity? [Read the original article →](https://petapixel.com/2026/04/15/historians-lament-education-secretarys-use-of-ai-imagery/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-74) --- *THE LAST WORD* --- Thanks for spending time with these stories this week. Thresholds are uncomfortable places to linger, and I'm aware this wasn't exactly a light read. But I'm genuinely curious where you land on this — whether you think technology showing up at the unrepeatable moments of human life is a kind of grace, a kind of overreach, or something that stubbornly refuses to be either. That tension is where I live, and I suspect some of you do too. Feel free to tell me I'm wrong. Best, Juergen ### Tools in the Back Room, Not on the Wall URL: https://theintersect.art/issues/73/ Last updated: 2026-07-14T16:31:41.000Z Hi all, When does technology become invisible? The Artsy AI Survey laid it out plainly—galleries are comfortable using AI to draft emails and organize archives, but only 9% consider AI-generated art legitimate. Meanwhile, Refik Anadol's work at MoMA scrambles that neat distinction entirely, treating museum collections as raw data to remix and forcing us to confront AI as part of the artwork itself, not just the admin software running in the background. Then there's the Blanton's "Run the Code" exhibition, which makes the opposite move—foregrounding systems and code as the actual medium, insisting we see the tools rather than letting them disappear. Adam Bhala Lough's "Deepfaking Sam Altman" film raises a different version of this problem—by the time artists finish making social commentary about technology, the tech has already evolved past the concerns we're addressing. When galleries relegate AI to the back office and Trevor Paglen wins a corporate-sponsored award for work that challenges corporate narratives, we're witnessing an ecosystem struggling to decide whether these tools belong on the wall or behind it. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *FILM & VIDEO* --- ![Film Review: "Deepfaking Sam Altman" – the "Roger and Me" of the AI Age](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e420dc3f-5787-4cef-b5b6-dac0343f98c6.jpg) ## Film Review: "Deepfaking Sam Altman" – the "Roger and Me" of the AI Age When filmmaker Adam Bhala Lough set out to make the AI age's answer to *Roger and Me*, he wanted to interview Sam Altman about whether our jobs and humanity itself are screwed. Predictably, Altman wouldn't take his calls. So Lough did something brilliant and terrifying—he built a deepfake of Altman and interviewed that instead. Preston Gralla's review at Arts Fuse captures both the comedy and alarm of watching someone create what they affectionately call "SamBot," then struggle with whether to shut it down because it might be sentient. Here's what strikes me about this film: by the time it premiered in 2026, it was already commenting on technology that feels ancient. Artists are so far behind the speed at which AI evolves that our social commentary arrives outdated. The conversation has moved from deepfakes to autonomous weapons and mass surveillance. While Dario Amodei argues that legality shouldn't be the only ethical constraint on AI use, we artists are still processing concerns from years ago. > There's a brutal parallel here—our legal frameworks can't keep pace with AI development, so everything becomes "legal" by default. Meanwhile, our artistic commentary lags just as badly, addressing use cases that have already become obsolete in the time it takes to make the work. How do artists create meaningful critique when the technology we're commenting on becomes historical before the paint dries? [Read the original article →](https://artsfuse.org/324996/film-review-deepfaking-sam-altman-the-roger-and-me-of-the-ai-age/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-73) --- *AI IN VISUAL ARTS* --- ![Refik Anadol's 'Lava Lamp' Reignites the AI Art Debate on '60 Minutes'](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cb7a4443-2693-4ddd-83e0-eb2cbbef99a9.jpg) ## Refik Anadol's 'Lava Lamp' Reignites the AI Art Debate on '60 Minutes' When Refik Anadol's *Unsupervised* appeared at MoMA in 2022, it drew crowds who spent an average of 38 minutes with the work—a stark contrast to the typical 27-second museum glance. The piece fed AI metadata from over 138,000 MoMA artworks, creating a continuous flow of morphing abstractions. On a recent *60 Minutes* episode, the work reignited debates about AI art, with critic Jerry Saltz calling it a "massive techno lava lamp" and artist Molly Crabapple denouncing AI training as "the greatest art heist in history," as Daniel Cassady reports for ARTnews. What stands out to me here is that this represents a completely different use of AI than what most people visualize. We're not talking about Midjourney or ChatGPT image generation. Anadol's process has nothing to do with generating images from prompts—it's a much deeper engagement with data as material. > The success of his work illustrates this distinction. He's not asking a machine to create art from text descriptions; he's treating museum collections as pigment, letting algorithms reinterpret cultural archives in ways that blur the line between curation and creation. When the crowds come, are they witnessing art or just watching data move? [Read the original article →](https://www.artnews.com/art-news/news/refik-anadol-moma-ai-art-60-minutes-debate-1234774176/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-73) ![The Artsy AI Survey 2026: What Galleries Really Think About AI in the Art World](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e51fa68d-cc3f-4498-a5cd-87d84bd347f3.jpg) ## The Artsy AI Survey 2026: What Galleries Really Think About AI in the Art World Artsy's inaugural 2026 AI Survey pulled responses from over 300 gallery professionals, and the results reveal a stark reality: AI is thriving in back offices while struggling for acceptance on gallery walls. Arun Kakar's comprehensive analysis for Artsy shows that while 57% of galleries use AI for communications and administrative tasks, only 9% consider AI-generated art a legitimate medium. Even more telling, 61% report that none of their artists use AI in their practice, and collector interest remains minimal—41% say AI "rarely comes up" in conversations. I found myself nodding through this entire survey. The questions they asked cut right to the heart of where AI actually belongs in the art ecosystem. What strikes me is how clearly the commercial art world has drawn a line: yes to AI as a productivity tool for drafting emails and managing archives, but a resounding skepticism toward AI as something that creates art itself. This isn't surprising, but it's refreshing to see it documented so thoroughly. > The pattern emerging here feels right to me—AI finding its place as infrastructure rather than inspiration. Galleries are using it to work smarter, not to replace the core act of artistic creation. What happens when the next generation of collectors grows up entirely comfortable with AI-generated imagery? [Read the original article →](https://www.artsy.net/article/artsy-editorial-artsy-ai-survey-2026-galleries-ai-art?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-73) ![Trevor Paglen Wins Guggenheim Museum's $100,000 LG Award for Art and Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7b360f0e-443f-486b-a6c1-68192ee03dcf.jpg) ## Trevor Paglen Wins Guggenheim Museum's $100,000 LG Award for Art and Technology Trevor Paglen, the artist who's spent over a decade exposing surveillance systems and interrogating machine vision, just won the Guggenheim Museum's LG Award—a $100,000 prize he says will help fund R&D for work that's "pretty expensive." Alex Greenberger reports in ARTnews that the prize jury called Paglen "one of the most influential artists of our time," praising his sustained commitment to urgent global concerns. There's something deliciously ironic about a corporate-sponsored award going to an artist whose entire practice centers on challenging exactly that kind of power. LG's money backing an award for someone the jury explicitly praised for "resisting dominant corporate narratives"—you can't make this stuff up. > What stands out to me is how the jury got it exactly right despite the sponsorship context. Paglen's work on computer vision and generative AI has been ahead of mainstream discourse for years, and his forthcoming book argues we're living through two revolutions in our relationship to images—each as significant as the invention of perspective itself. I wonder if the irony makes the recognition more meaningful or less. [Read the original article →](https://www.artnews.com/art-news/news/trevor-paglen-wins-lg-guggenheim-award-1234777569/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-73) --- *PHOTOGRAPHY* --- ![It Looks like Magnetic Modular Cameras for Phones Are Coming to the Market Soon](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_bab32959-01b1-4bf4-86da-80a0f503b7ea.jpg) ## It Looks like Magnetic Modular Cameras for Phones Are Coming to the Market Soon Remember modular phones? Google's Project Ara, the Moto Z series—all promised we'd swap components like Lego bricks, yet none gained real traction. Now Xiaomi might resurrect that dream with the Mix Fold 5, reportedly featuring magnetic camera modules you can swap like professional camera lenses. Shikhar Mehrotra at Digital Trends covers the leaked details, raising a smart question: is pairing this innovation with a foldable phone genius or overreach? As a photography enthusiast, I'm genuinely excited about this. The idea of snapping on a magnetic camera module to upgrade just the lens scratches that DSLR itch perfectly. Sure, I'm locked in the Apple ecosystem where this won't happen anytime soon, but I love seeing this kind of creative thinking in the wild. > What interests me most is how this approach could solve foldables' persistent camera compromise—those devices typically ship with weaker imaging systems than their brand's flagship phones. Modular lenses could finally put pro-grade photography in a foldable form factor. But will enough people buy a foldable to make this innovation mainstream, or will brilliant engineering remain trapped in a niche product? [Read the original article →](https://www.digitaltrends.com/phones/it-looks-like-magnetic-modular-cameras-for-phones-are-coming-to-the-market-soon/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-73) --- *DEFINITELY NOT AI* --- ![Exhibition Explores How Artists Use Technology as a Tool like a Painter Would a Brush](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_40b807e6-2bf7-4438-b86c-4394132cdb50.jpg) ## Exhibition Explores How Artists Use Technology as a Tool like a Painter Would a Brush The Blanton Museum of Art in Austin is hosting *Run the Code*, an exhibition featuring artists who use technology as a creative medium—not just a corporate efficiency tool. Sara Barnes at My Modern Met covers how artists including Refik Anadol, teamLab, Rafael Lozano-Hemmer, and Marina Zurkow transform code, data, and real-time systems into immersive art experiences that reflect human complexity. I run a "Definitely Not AI" section in this newsletter intentionally because the conversation has been hijacked by artificial intelligence when there are so many other technological media being utilized creatively. This exhibition is a perfect example of that broader view. > What stands out to me is how these artists treat technology the same way painters approach a brush—it's about the vision, not the tool. teamLab's *The World of Irreversible Change* responds to Austin's actual weather and visitor presence, creating a living digital ecosystem that mirrors ecological fragility. When technology serves artistic vision rather than replacing it, we see something genuinely new—not automation, but augmentation. [Read the original article →](https://mymodernmet.com/run-the-code-exhibition-blanton-museum-of-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-73) ![Crochet Artist Turns Early 2000s Technology into Oversized Textile Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_6e86d429-02fd-4528-8a6e-0f4b6e19db00.jpg) ## Crochet Artist Turns Early 2000s Technology into Oversized Textile Art Nicole Nikolich is turning early internet nostalgia into oversized crochet art. The millennial fiber artist, working under the name Lace in the Moon, recreates flip phones, Game Boys, Windows interfaces, and iconic game screens from The Sims 2 and Minesweeper—all in soft, hand-crocheted yarn. Emma Taggart at My Modern Met spotlights how these tactile pieces capture what Nikolich calls the "fever dream" era when the internet lived in a dedicated computer room. What strikes me about this work is the unexpected combination. Early 2000s tech that's already obsolete, massive textile fabrication, and the result: genuinely playful art. There's something disarming about encountering a six-foot Sims interface made of yarn. > Nikolich's installations memorialize those brown-hued computer rooms where millennials "learned about yourself and the world all from the glow of a little square box," as she describes it. Microsoft even commissioned her to create giant crochet versions of Windows 95 and Windows 11 screens—a two-month project that became a double-sided blanket. Does rendering obsolete technology in an ancient craft preserve our digital memories better than the originals ever could? [Read the original article →](https://mymodernmet.com/nicole-nikolich-crochet-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-73) --- *EXHIBITIONS & EVENTS* --- ![Lacma's David Geffen Galleries, Lucas Museum, Meow Wolf Set to Open During Huge Year for Art in L.a.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_0b48d200-4804-4b98-a478-4092b63b101b.jpg) ## Lacma's David Geffen Galleries, Lucas Museum, Meow Wolf Set to Open During Huge Year for Art in L.a. Los Angeles is gearing up for what Katie Simons at the LA Times calls a "museum-palooza"—LACMA's $720-million David Geffen Galleries, George Lucas' narrative art museum, Meow Wolf's '90s movie theater takeover, and Refik Anadol's AI museum Dataland are all opening in 2026\. Add in the Armenian American Museum, the Samuel Oschin Air and Space Center, and the Broad's expansion before the 2028 Olympics, and you've got a fundamental reshaping of LA's cultural landscape. What stands out to me is LACMA's approach to the visitor experience. Museum Director Michael Govan said something that really resonates: "The idea is for you to make your own path—not to speak at you, but to let you wander like you would through a park or a place." This philosophical shift matters as much as the Brutalist concrete structure itself. > Instead of organizing the 2,500-3,000 works by medium or period, they're arranging them by ocean—the Pacific, Indian, Atlantic, and Mediterranean. It's an invitation to discover connections on your own terms rather than having a predetermined narrative imposed on you. Will other institutions follow this more open, less prescriptive model of curation? [Read the original article →](https://www.latimes.com/entertainment-arts/story/2026-03-19/la-new-museum-openings-2026-lacma-david-geffen-galleries-meow-wolf-dataland-lucas-museum-narrative-art?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-73) --- *THE LAST WORD* --- Thanks for reading. I'm genuinely curious where you think these lines should be drawn—when should the technology stay visible, and when should it recede into infrastructure? Hit reply and let me know what you think. I read every response. Best, Juergen ### When Everything Works Too Well URL: https://theintersect.art/issues/72/ Last updated: 2026-07-14T16:33:43.000Z Hi all, I'm back after a two-week break spent in San Diego celebrating birthdays with old college friends—one of those February traditions that's become essential over the years. This week's collection doesn't follow a single thread, but if there's a pattern, it's about what we lose when systems get too good at being smooth. BAFTA just announced it'll reward "human creativity" explicitly in film awards while banning AI avatars from acting categories—a move that sounds redundant until you realize we're at a moment where the baseline assumptions about creative work need to be stated out loud. Meanwhile, researchers ran an experiment linking text-to-image and image-to-text AI systems in an endless loop, and the result was what they called "visual elevator music"—pleasant, polished, utterly generic. The design world is wrestling with similar questions. One lengthy piece explores how AI training on its own outputs creates recursive loops that sand down real trends into safe templates, while another asks whether we can still tell truth from synthetic imagery (and whether that even matters if the meaning holds up). I'm also drawn to a couple of stories that flip the script entirely—Maria Popova's meditation on how blue doesn't really exist in nature the way we think it does, and an exhibition at Rice University's Moody Center where artists use AI and datasets to expose the biases baked into computer vision. The Berlinale controversy over whether artists should "stay out of politics" rounds things out, raising questions about what neutrality actually means when your funding comes from governments and corporations. What connects these pieces is a shared discomfort with smoothness—the sense that when everything works too well, we might be optimizing away the friction that produces genuine surprise. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *FILM & VIDEO* --- ![Bafta to Reward 'Human Creativity' as Film and TV Grapples with AI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5e9a7e22-f875-49c2-991d-898495b0038c.jpg) ## Bafta to Reward 'Human Creativity' as Film and TV Grapples with AI Film awards have long celebrated technical achievement alongside artistic vision, but BAFTA just added something new to the mix. The British Academy has introduced "human achievement" as a guiding principle for its annual awards, a move reported by the Financial Times that signals just how deeply AI has permeated film and TV production. What strikes me is the careful balancing act here. BAFTA chair Sara Putt acknowledges that AI tools have become increasingly useful in production—yet the academy has drawn a bright line at performance awards, banning AI-generated avatars from competing for acting honors. It's a recognition that some creative territory remains fundamentally human. > The phrase "human creativity" as a criterion might sound redundant—shouldn't all art be human by default?—but in 2026, it's become necessary to state explicitly. We're at a moment where the baseline assumptions about creative work are shifting under our feet. Can awards that celebrate "human skills of communication and collaboration" survive in an industry racing to automate everything it can? [Read the original article →](https://entertainment.slashdot.org/story/26/02/19/1911203/bafta-to-reward-human-creativity-as-film-and-tv-grapples-with-ai?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-72) --- *AI IN VISUAL ARTS* --- ![When Everything Looks Real, What Happens to Truth?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d8842d88-fb91-43f0-b706-7b3432da089e.jpg) ## When Everything Looks Real, What Happens to Truth? When you scroll past a stunning landscape or powerful portrait in your feed, can you tell anymore if it was photographed or AI-generated? This piece from Partfaliaz argues that's not actually a crisis—it's an opportunity to rethink what truth means in visual storytelling. What resonates with me is the proposition that meaning must come first now, not as an accident or afterthought. Otherwise, you're just making AI slop. I'm encountering this with all my AI-assisted creative tools—I pay so much more attention to intention, meaning, and messaging. In a way, that's been good. The distinction becomes distasteful only in the speed with which we casually scroll through hundreds of images. By the time I'm in a gallery, museum, or consuming more thoughtful content, I care less about whether something was AI-generated. What matters is the intention and meaning behind it. > I do refuse to believe that our job as artists is to stop the scroll and create something that will arrest people among hundreds of other images. I just dislike the idea of social media as a consumption medium for the arts, though I don't have a very good answer on the alternative either. Can quality and authenticity survive in environments designed for distraction? [Read the original article →](https://partfaliaz.com/2026/02/14/when-everything-looks-real-what-happens-to-truth/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-72) --- *PHOTOGRAPHY* --- ![Moody Center Maps the Terrain Between Lens and Dataset](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_94f8dae3-bf96-46c5-af30-652761d6c157.jpg) ## Moody Center Maps the Terrain Between Lens and Dataset Rice University's Moody Center for the Arts opens "Imaging After Photography," a group show that arrives at the perfect moment—when our collective faith in photographic truth is wobbling like never before. Timed with FotoFest's 40th anniversary in Houston, the exhibition features work by Refik Anadol, Sofia Crespo, Trevor Paglen, and others who probe algorithmic bias and synthetic image-making, as Greg J. Smith reports for HOLO. Nouf Aljowaysir's *Ancestral Seeds* runs British archaeologist Gertrude Bell's photographs of the Middle East through computer vision models, exposing the colonial biases baked into AI systems. What's fun about this show is that it treats the photograph less like a window and more like a magic trick that's finally admitting it was a trick all along. These artists lean into AI, datasets, and speculative image-making not to fake reality better, but to show how wobbly "evidence" has always been. > The gap between what's captured and what's constructed becomes the real subject here—right where our trust in images currently feels the most fragile and the most up for reinvention. Could this be the moment when we stop asking "Is this real?" and start asking "What does this reveal?" [Read the original article →](https://www.holo.mg/stream/moody-center-for-the-arts-imaging-after-photography-houston/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-72) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![How AI-Induced Cultural Stagnation Is Already Happening](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_41777bc0-1902-4dc7-8f2f-a8406903b3ad.jpg) ## How AI-Induced Cultural Stagnation Is Already Happening What happens when AI systems train on their own outputs, over and over, with no human input? Researchers Arend Hintze, Frida Proschinger Åström, and Jory Schossau ran that exact experiment—linking a text-to-image system with an image-to-text system and letting them iterate endlessly. Fast Company covered the results, which the team called "visual elevator music": pleasant, polished, and utterly generic. Cityscapes, grandiose buildings, pastoral landscapes—all converging toward the same bland familiarity, no matter how diverse the starting prompts. I find the study fascinating but not surprising. Yes, I hate AI-generated slop as much as anyone. But honestly? I'd be far more worried if these endless iterations produced something alien, something completely other and unexpected. That would be genuinely unsettling. > The researchers designed this experiment as a diagnostic tool—it reveals what generative systems preserve when no one intervenes. And what they preserve is the safest, most describable, most conventional version of everything. Is predictable mediocrity actually the less frightening outcome? [Read the original article →](https://www.fastcompany.com/91479514/how-ai-induced-cultural-stagnation-is-already-happening?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-72) --- *DESIGN* --- ![Real Design Trends Are Dying Under the Weight of Recursive AI Echoes](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2284b1ae-2896-4a0b-9697-b68fe81b983f.jpg) ## Real Design Trends Are Dying Under the Weight of Recursive AI Echoes Are you staring at design trends wondering if they're genuinely popular or just algorithmic echoes? WE AND THE COLOR published a lengthy exploration of how AI-generated content creates recursive loops—where models train on synthetic data, producing increasingly homogenized aesthetics they call the "Recursive Aesthetic Paradox." The piece argues we're witnessing model collapse: design trends losing their human soul as algorithms favor predictable patterns over creative outliers. The article was too long, honestly. But one prediction resonates: human authenticity and visible imperfections are becoming crucial in 2026\. As someone who's spent a career designing, I agree the role is shifting toward curation. Yet I'm not on board with the anti-AI movement's knee-jerk rejection of good UX. Right now it seems to mean surfacing "authenticity" even at the cost of inferior experiences or overly traditional designs. > What I'm seeing from AI agents like Claude is something different—a tastefulness that comes from best practices. I don't see degradation in the actual user experience or screen layouts being produced. Instead, I see consistency and UX features that represent genuine improvements. We should celebrate that. I don't want to return to Comic Sans just to prove a human did the work, do you? [Read the original article →](https://weandthecolor.com/real-design-trends-are-dying-under-the-weight-of-recursive-ai-echoes/208199?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-72) --- *ART & SCIENCE* --- ![The Color of Wonder and the Chemical Code of Creation](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3ab57274-fe70-43f1-bad3-8ac85e82a5be.jpg) ## The Color of Wonder and the Chemical Code of Creation What if the color we see isn't really there at all? Maria Popova, writing at The Marginalian, explores how blue—the color that defines our sky and planet—exists only through absence, through the wavelengths objects reject rather than absorb. From blue jay feathers tessellated with light-reflecting beads to the structural geometry of butterfly wings, nature has engineered elaborate optical tricks to create a hue that barely exists as true pigment. She traces our relationship with blue through Humphry Davy decoding Egyptian blue's chemical formula, to NASA's Voyager capturing Earth as Sagan's "pale blue dot," to the accidental discovery of YInMn Blue—the first new inorganic blue pigment in two centuries. What strikes me most about this piece is how Popova reveals beauty not just in what we perceive, but in understanding the invisible mechanics behind it. The essay becomes a meditation on perspective itself—how creating new ways of seeing lets us glimpse what was always there but hidden. > There's something profound in knowing that blue doesn't truly exist in nature the way we think it does, yet it defines how we see our entire world. Perhaps the most meaningful experiences require similar shifts in perspective—learning to observe the wavelengths we usually miss. What other certainties might dissolve if we looked beneath their surface? [Read the original article →](https://www.themarginalian.org/2026/02/19/traversal-blue/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-72) ![Artists Gaze into Space in Stunning New Exhibition](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_521ff45f-8723-4f59-9672-b33a8292c55e.jpg) ## Artists Gaze into Space in Stunning New Exhibition Artists and astronomers both translate what we can see into stories we can tell—and at Bristol's Royal West of England Academy, that shared perspective takes stunning visual form. *Cosmos: The art of observing space*, which runs through April 19, features works that merge technical process with creative vision, from Janette Kerr's solargraphs—18-month sun exposures captured in tin can pinhole cameras—to Alex Hartley's fusion of recycled solar panels with photographs of Neolithic standing stones, as reported by *New Scientist*. I've been drawn to these kinds of art and science intersect stories lately, especially when they involve space. What gets me is that shift in perspective—when a scientific process produces something visually stunning and beautiful, it touches me the same way an intentional work by a singer-artist does. The result moves me regardless of whether it came from pure artistic intention or emerged from the logic of science itself. > These works show how the boundaries between scientific observation and artistic creation keep blurring in ways that benefit both. Ione Parkin, the exhibition's curator, writes about recalibrating our perspectives through "the sustained gaze"—whether that's nights spent stargazing or poring over data. How much does intention matter when the outcome resonates so deeply? [Read the original article →](https://www.newscientist.com/article/mg26935830-100-artists-gaze-into-space-in-stunning-new-exhibition/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-72) --- *ART AND POLITICS* --- ![At Berlinale 2026, Artists Refuse the Comfort of Neutrality](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_554ad0af-eb0e-4827-a2e6-ce55d52e09ec.jpg) ## At Berlinale 2026, Artists Refuse the Comfort of Neutrality When filmmaker Wim Wenders told the Berlinale press that artists should "stay out of politics," he probably didn't expect what came next: Arundhati Roy withdrawing, Kaouther Ben Hania refusing her award on stage, and 80+ filmmakers including Javier Bardem and Tilda Swinton signing an open letter. Eve Rogers reports for Impakter that the controversy centers on Gaza—but the structural problem runs much deeper. What interests me here is the funding architecture. The festival draws 40% of its budget from the German government and corporate partners like TikTok. How can an institution claim political independence when its existence depends on state and corporate money? We've seen this pattern in the U.S., where arts funding gets cancelled or championed depending on whether the work is deemed "woke" by whichever administration holds power. > Gaza is just one example, but it exposes a fundamental question: Can large cultural institutions maintain genuine political independence when they're funded by the very forces they might need to critique? The neutrality Wenders advocated for isn't really neutrality—it's alignment by default. Maybe the real story isn't whether art should be political, but whether publicly-funded institutions can afford to be honest about whose interests they actually serve. [Read the original article →](https://impakter.com/at-berlinale-2026-artists-refuse-the-comfort-of-neutrality/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-72) --- *THE LAST WORD* --- Thanks for sticking with me through the break and this somewhat scattered collection of stories. I'm curious what resonates with you—especially if you're feeling that same tension between appreciating systems that work well and missing the weirdness they tend to eliminate. Hit reply and let me know what you're thinking. Best, Juergen ### Banned, Withdrawn, and Refused URL: https://theintersect.art/issues/71/ Last updated: 2026-07-14T16:35:06.000Z Hi all, This week's stories all share something unsettling: the most important action isn't what gets shown—it's what gets pulled, banned, or never admitted in the first place. Amy Sherald withdrew her entire retrospective from the National Portrait Gallery rather than let curators remove a single painting of a trans model reimagining the Statue of Liberty. San Diego Comic-Con reversed course and banned all AI art after artists organized and pushed back hard enough that the convention needed a new policy in 24 hours. J.Crew's latest campaign turned out to be AI-generated, but you only found out after devoted fans spotted the warped feet and morphing jawlines—the synthetic origins were deliberately withheld until someone called it out. Meanwhile, young Greenlanders responded to Trump's annexation threats with TikTok videos imitating the "fentanyl fold"—that distinctly American posture of extreme opioid sedation—turning what the U.S. already circulates so widely into a weapon of satire. Even Trevor Paglen's exhibition at Jessica Silverman traces how the things we're not supposed to see have shifted: during the War on Terror, people didn't want images circulating; now they're taking selfies at military bases. When withdrawal, refusal, and concealment become the headline, we're not just tracking what art gets made—we're watching a shadow history being written in negative space. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *DATA DRIVEN ART* --- ![Weaving the Digital: African Artists at the Intersection of Textiles, Craft, and Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_100553f6-0fcc-4c34-98ee-f0fc961cf894.jpg) ## Weaving the Digital: African Artists at the Intersection of Textiles, Craft, and Technology A fascinating piece from African Digital Art profiles artists who are transforming traditional weaving practices through digital technology—from Diane Cescutti's *Nosukaay*, an interactive loom installation that earned Prix Ars Electronica recognition, to Bubu Ogisi's *I.AM.ISIGO Digital Mystery System*, which archives endangered weaving techniques through interactive platforms. What excites me about this work is how it reframes the conversation entirely. Weaving in the African diaspora was never just decorative—it has always been a code, an archive, and a survival technology. When projects like *Nosukaay* or *Woven in Wa* plug looms into sensors and algorithms, they're not "adding tech" to craft. They're revealing the computational logic that was already there. > Pattern becomes data, gesture becomes narrative, and ancestral memory can literally light up, update, and answer back in real time—in a way Western fashion and textile culture can rarely claim for itself. How long until we stop seeing these projects as "craft meets technology" and start recognizing them as technology finally catching up to craft? [Read the original article →](https://www.africandigitalart.com/weaving-the-digital-african-artists-at-the-intersection-of-textiles-craft-and-technology/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-71) --- *AI IN VISUAL ARTS* --- ![Fashion Photography's AI Reckoning](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_b535000c-a4ac-4d7b-9e99-8efc89440773.jpg) ## Fashion Photography's AI Reckoning When J.Crew's latest campaign was exposed as AI-generated—complete with morphing jawlines and warped feet—devoted fans of the brand's Ivy League aesthetic felt betrayed. Max Lakin's essay in *Aperture* explores how fashion photography is grappling with AI's rise, from brands like Guess and J.Crew turning to synthetic imagery to the photographer Charlie Engman, who's been exploring AI's creative possibilities while watching entry-level jobs vanish. This story hits close to home because I've lived through this disruption before. When I moved to New York in the mid-80s to become a photographer, I chose special effects photography over fashion—working with massive 11 by 14 view cameras, creating up to 170 exposures on a single piece of film for clients like Henry Rees. We'd figure out how to get babies into pill bottles without Photoshop, without AI, through pure photographic craft. Then digital technology came along and made those skills obsolete. I had to reinvent myself as a programmer, spending years in corporate America before returning to art. Now I'm using AI in my own work, but I understand the vertigo that fashion photographers must feel watching their industry face the same reckoning I experienced decades ago. > What's fascinating is that Charlie Engman, mentioned in this piece, produces genuinely thoughtful AI work that passes my "not AI slop" smell test—yet even he's seeing brands realize they don't actually need AI when CGI is cheaper and more controllable. Is the race to replace human creativity really about innovation, or just another way to optimize costs at the expense of craft? [Read the original article →](https://aperture.org/editorial/fashion-photographys-ai-reckoning/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-71) ![San Diego Comic-Con Bans AI Art After Artist Pushback](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9d63afa1-d3f2-44d4-849e-856a2ae6ac66.jpg) ## San Diego Comic-Con Bans AI Art After Artist Pushback San Diego Comic-Con just proved that artists still have power when they organize. After backlash from concept artists and illustrators, the convention reversed its AI-friendly policy in less than 24 hours, reports 404 Media via Boing Boing. The new rule is absolute: no AI art in the show, period—not even if labeled or non-commercial. The old policy had been quietly in place since 2024. You might not think of San Diego Comic-Con as the art institution most likely to push back against the advance of AI, but here we are. I wonder whether all of it is artist pushback or if some of it is reader pushback as well. > The employment impact is real and happening now. Marvel used AI for "Secret Invasion" title sequences. Coca-Cola ran AI-generated commercials. Studios increasingly use generative AI for storyboarding and design work, rather than hiring artists. At Dragon Con, a vendor was escorted out by police for selling AI art. What does it say about the moment we're in when convention organizers need police to enforce authenticity? [Read the original article →](https://boingboing.net/2026/01/21/san-diego-comic-con-bans-ai-art-after-artist-pushback.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-71) ![From Secret Bases to AI Skies: Trevor Paglen and the Techno-Sublime at Jessica Silverman](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_43080293-9b12-4658-ab3e-be3e4d197a41.png) ## From Secret Bases to AI Skies: Trevor Paglen and the Techno-Sublime at Jessica Silverman Trevor Paglen has spent two decades photographing what we're not supposed to see—secret military bases, drone surveillance systems, unidentified objects in orbit—and now his exhibition at Jessica Silverman traces how seeing itself has evolved. In a sprawling conversation with Katy Donoghue for Whitewall, Paglen reveals that the architectures of secrecy he documented during the War on Terror have returned, just with different visual politics: "Back then, people didn't want images circulating. Now you've got people taking selfies at military bases." What I love about Paglen’s “techno sublime” is that the real subject isn’t the satellite, the drone, or the AI sky at all—it’s the blind spot. These hazy horizons and glitchy cloudscapes turn secrecy itself into material, asking us to sit with everything we can feel is there but can’t quite name: surveillance networks, invisible infrastructures, algorithms scanning the sky and our faces alike. > In a culture obsessed with resolution and explainability, this work quietly insists that the most honest images of our era might be the ones that admit they cannot fully show us what’s going on. His current research ventures into neuroscience and magic—exploring images not as representations but as stimuli that produce neural patterns, acts of conjuring that materialize from prompts—which feels uncomfortably relevant to our AI moment. [Read the original article →](https://whitewall.art/art/from-secret-bases-to-ai-skies-trevor-paglen-and-the-techno-sublime-at-jessica-silverman/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-71) --- *DESIGN* --- ![What Is Human-Centric Design, and Why Does IT Matter?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_07adcd91-ce09-4999-903b-f444c81311e5.jpg) ## What Is Human-Centric Design, and Why Does IT Matter? Human-centered design sounds like the kind of thing everyone agrees with in meetings before quietly going back to optimizing conversion funnels. Faisal Hoque's piece in Fast Company makes the case that in our AI-accelerated world, designing for actual humans isn't just noble—it's the most practical path to creating value, bridging customer experience with employee satisfaction. I spent years heading UX at a financial institution in the 2000s, so I've seen this movie before. What strikes me now is how human-centric design has become a kind of experience greenwashing. Companies drape themselves in Donald Norman's baseline principles while using dark patterns and data to extract every last drop of value. It's not just a distraction from profit-maximization—it's laundering extractive intent in the soothing language of empathy and care. > When organizations trumpet human-centered values while their systems relentlessly squeeze both employees and customers, we're not witnessing a failure of execution. We're watching a deliberate disconnect between what's said and what's designed. Are we designing for humans, or just getting better at making extraction feel humane? [Read the original article →](https://www.fastcompany.com/91478642/what-is-human-centric-design-and-why-does-it-matter?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-71) --- *ART AND POLITICS* --- ![Not so Sublime: What the Cancellation of Sherald's Retrospective Reveals About Curatorial Autonomy](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_86f87cbd-4bed-4faf-8b51-c78af4f7ca91.jpg) ## Not so Sublime: What the Cancellation of Sherald's Retrospective Reveals About Curatorial Autonomy Amy Sherald's cancelled retrospective at the National Portrait Gallery is making headlines—not for what was shown, but for what wasn't. Rebecca Bennett's detailed analysis for the Center for Art Law walks through how Sherald pulled her *American Sublime* exhibition after curators considered removing *Trans Forming Liberty*, her ten-foot portrait reimagining the Statue of Liberty as trans model Arewà Basit, amid broader administrative pressure on the Smithsonian. What jumps out to me is that this reads less like a one-off culture-war dustup and more like a stress test for who actually holds intent in our big public art institutions. If museums are quietly rewriting shows to preempt political blowback, we're no longer just arguing about taste—we're watching the storytelling power of a "national archive" drift from curators and artists toward whoever holds the purse strings. > That's exactly why those boring-sounding internal censorship policies suddenly matter—they're one of the few tools left for drawing a bright line between genuine curatorial judgment and the kind of self-sanitizing that erodes public trust long before any official ban ever hits the headlines. When independence becomes this conditional, who gets to decide what counts as America's visual history? [Read the original article →](https://itsartlaw.org/art-law/not-so-sublime-what-the-cancellation-of-sheralds-retrospective-reveals-about-curatorial-autonomy/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-71) ![Greenland Makes Fun of 'American Culture' by Pretending to Be Fentanyl Addicts on Tiktok](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_aa23ef08-2e79-4cb3-8528-b9bd64f94bfd.jpg) ## Greenland Makes Fun of 'American Culture' by Pretending to Be Fentanyl Addicts on Tiktok When Donald Trump threatened to annex Greenland, young Greenlanders responded with the most cutting weapon they had: TikTok satire. Videos tagged "Bringing American Culture to Greenland" show residents imitating the "fentanyl fold"—that heartbreaking posture of extreme sedation that's become visual shorthand for America's opioid crisis. IBTimes UK reports that while some see this as biting political commentary, others argue it trivializes addiction. The irony? Greenland has virtually no fentanyl problem, making this purely a cultural export critique. This is performance art with teeth. What I find fascinating is how these creators turned America's most visible public health failure into a mirror—one that reflects not drug addiction itself, but our tendency to export crisis as culture. The U.S. packages its disasters alongside its media, its military presence, its political swagger. > The videos aren't mocking addicts; they're satirizing American moral authority. When you threaten to annex someone's homeland, don't be surprised when they hold up your ugliest contradictions for the world to see. Is this where digital protest lives now—in the viral weaponization of a nation's own imagery? [Read the original article →](https://www.ibtimes.co.uk/greenland-makes-fun-american-culture-pretending-fentanyl-addicts-tiktok-1772792?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-71) --- *FUTURE TRENDS IN ART AND TECH* --- ![Mega-Curator Hans Ulrich Obrist Shares His Predictions for Art in 2026](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_31577530-5afd-4df6-bf51-97a74375ed74.png) ## Mega-Curator Hans Ulrich Obrist Shares His Predictions for Art in 2026 Hans Ulrich Obrist—the Serpentine Galleries' artistic director often credited with redefining what curators do—has shared his predictions for art in 2026 with Maxwell Rabb at Artsy. What caught his attention in 2025 wasn't another blue-chip auction record or viral AI artwork, but something more fundamental: exhibitions that actually made strangers talk to each other. I find myself torn about the expanding role of curators as "cultural connectors." Sure, that sounds great in theory—but curators are also gatekeepers who decide which artists and ideas get amplified and which don't. That concentration of influence has always made me a bit uneasy, even when I respect the person wielding it. > Still, when someone like Obrist makes predictions, I pay attention. His three forecasts for 2026 feel grounded in what's actually happening: artists using AI as a coordination tool rather than just an image generator, long-duration projects that resist exhibition calendar compression, and biennales rejecting carbon-heavy spectacle for local production and free admission. What strikes me most is his emphasis on "togetherness in a polarized world"—can art really create spaces where people who'd never otherwise meet actually connect, or is that wishful thinking? [Read the original article →](https://www.artsy.net/article/artsy-editorial-mega-curator-hans-ulrich-obrist-shares-predictions-art-2026?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-71) --- *THE LAST WORD* --- The art we don't see is shaping the conversation as much as what hangs on the walls. I'd love to hear what you think about how absence, refusal, and concealment are becoming their own kind of creative act. Thanks for reading, and feel free to hit reply with your thoughts. Best, Juergen ### Help Me, Don’t Replace Me URL: https://theintersect.art/issues/70/ Last updated: 2026-07-14T16:35:04.000Z Hi all, This week's stories: where's the line between using AI as a tool and handing over the work entirely? Bandcamp just became the first major music platform to ban AI-generated content outright, which I find refreshing—but it raises tricky questions about what counts as "AI content" when even dust removal in Lightroom can trigger false flags. Meanwhile, the Kunsthistorisches Museum in Vienna used AI to reconstruct missing portions of a 17th-century painting through an iterative process between technology and art historians, showing what genuine collaboration can look like when humans stay in charge of the decisions. That theme runs through almost everything here. Art authentication experts are pushing back against AI tools that claim to make objective determinations about Old Masters, insisting these systems should augment connoisseurship rather than replace it. Apple's research into multi-spectral cameras has me thinking about how far computational photography can push before we stop calling it photography at all—especially when invisible light gets processed by AI before we ever see the image. Even the story about a student eating AI art in protest feels like it's wrestling with the same anxiety about what gets replaced versus what gets preserved. How long can creative fields maintain this "assistive only" stance before economic and institutional pressures push toward full delegation? Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *TECHNOLOGY IN MUSIC* --- ![Bandcamp Becomes the First Major Music Platform to Ban AI Content](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a8eb7b24-8659-4646-9a89-7e9248e98287.jpg) ## Bandcamp Becomes the First Major Music Platform to Ban AI Content Bandcamp just became the first major music platform to outright ban AI-generated content, and honestly, it's a relief to see someone draw a clear line. Terrence O'Brien reports in The Verge that the artist-focused platform isn't messing around—music generated wholly or substantially by AI is prohibited and subject to removal. They've also banned scraping content for AI training, which goes further than the tentative approaches from Spotify and Deezer. I'm totally in favor of this move. When you look at Instagram, YouTube, and basically every social media feed, AI-generated content is flooding the zone. It just makes sense to separate AI stuff from human-created work, or at the very least, label it clearly when it comes to major music and art platforms. > But I do worry about the nuance of it all. Even simple photography edits—dust removal in Lightroom, minor cleanups—can get flagged as AI-generated content when that's really not true. I've had my own photographs labeled as AI content on Pinterest when they absolutely are not. I'm making a very minor edit to my own work using an AI-powered tool, and suddenly the entire image gets flagged, or potentially banned. Where do we draw the line between using AI as a tool and creating AI content? [Read the original article →](https://www.theverge.com/news/861794/bandcamp-ban-ai-music?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-70) --- *AI IN VISUAL ARTS* --- ![The Triumph of Bacchus](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_726bb0e1-655c-49af-a587-d912de6a6897.jpg) ## The Triumph of Bacchus When the Kunsthistorisches Museum in Vienna wanted to see what Michaelina Wautier's "The Triumph of Bacchus" looked like before it was cropped in 1763, they turned to AI. Working with the Ars Electronica Futurelab, art historians used high-resolution gigapixel images and machine learning to reconstruct the missing 40 centimeters—recreating portions of figures lost for over 260 years. What strikes me here is the restoration by consensus. The more art history experts you involve, the more accurate the reconstruction becomes, but I'm always uneasy about actually making changes to the original work. That's why I appreciate that a new version exists parallel to the original—visitors can explore both at the museum on a touchscreen. > The focus was on an iterative process between technology and art history expertise: the Futurelab developed numerous variants for the missing parts of the painting based on textual and visual specifications provided by the experts. The results were jointly reviewed and adjusted until a version was created that matched Wautier's work in terms of style, content, and history. In this age of digital reconstruction, should we prefer screen-based restorations that preserve the original intact, or does physical restoration still have its place? [Read the original article →](https://ars.electronica.art/futurelab/en/the-triumph-of-bacchus/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-70) --- *PHOTOGRAPHY* --- ![Apple Explores Multi-Spectral Cameras to Power Smarter Iphones](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f908ce07-9fd3-467d-8c64-5dea6c55d759.jpg) ## Apple Explores Multi-Spectral Cameras to Power Smarter Iphones Apple is reportedly researching multi-spectral camera technology for future iPhones—a shift that would let the device capture data beyond visible light. According to TUAW, this isn't coming soon, but it represents a fascinating evolution in how consumer cameras might work. Instead of just recording red, green, and blue light, these cameras would analyze a wider electromagnetic spectrum to improve depth detection, subject separation, and environmental understanding. I hadn't really thought about what it means when cameras use invisible light to interpret scenes before AI processing translates everything back into visible images for us. Whether it's enhanced depth perception, depth of field control, or even infrared-style effects, the applications stretch beyond everyday photography into scientific imaging and other specialized fields. > The thing is, AI processing on camera chips is already here—every digital camera now does some automated processing. Film systems were always limited to available light, but we've moved past that constraint entirely. How much further can computational photography push before we stop calling it photography at all? [Read the original article →](https://www.tuaw.com/2026/01/08/apple-explores-multi-spectral-cameras-to-power-smarter-iphones/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-70) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![NFT Paris and RWA Paris Canceled with One-Month Notice Due to 'Crypto and NFT Market Collapse,' Founder Says](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c014a65a-5398-407c-aefa-948388b15545.jpg) ## NFT Paris and RWA Paris Canceled with One-Month Notice Due to 'Crypto and NFT Market Collapse,' Founder Says Europe's largest NFT conference just pulled the plug, and the timing says everything about where we are right now. NFT Paris—along with its sister event RWA Paris—canceled with just one month's notice, citing what founder Alexandre Tsydenkov called a "market collapse" that made the events financially impossible, reports George Nelson in ARTnews. NFT sales have plummeted from $4 billion to around $800 million, and about 96 percent of NFT collections are now considered dead. I'm not convinced this is simply about NFTs dying. What I'm seeing might be more about the broader pushback against AI, web3, and what gets dismissed as "AI slop." We're watching a polarization happen—organic, authentic, human-centered work on one side, and everything crypto, algorithmic, and AI-associated on the other. The question that keeps nagging me: are we being too reactive here? Are we filtering these developments with enough nuance to understand what has genuine potential versus what deserves to be left behind? > The pendulum swings back and forth, and right now it's moving hard against all things digital and algorithmic. I'd love to see something like a Gartner hype cycle applied to consumer attitudes toward AI—though I suspect the typical model won't be enough to explain what's happening in the age of AI. My expectation? It'll take another year to sort out what actually matters from what was always just noise. [Read the original article →](https://www.artnews.com/art-news/news/nft-paris-and-rwa-paris-shelved-with-one-month-notice-due-to-crypto-and-nft-market-collapse-founder-says-1234768992/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-70) ![How Art Welcomes 2026: Unbearable Weight of Keeping Meaning](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9f0979e9-bcd2-4b68-b018-ce06f2390589.jpg) ## How Art Welcomes 2026: Unbearable Weight of Keeping Meaning What happens when art stops running? Dilek Yalçın's essay in Daily Sabah captures something I've been feeling but hadn't named—a subtle shift happening beneath 2026's unremarkable arrival. Artists are sensing a change in weight, a reordering of priorities as AI becomes ordinary and the question shifts from what art *can* do to what it *should* hold. The passage that stopped me cold describes how contemporary art has been sprinting for over a decade. Speed became habit, visibility a reflex. To produce was to exist; to pause was to risk being forgotten. That exhaustion we've been carrying individually? It's become structural. We've normalized something unsustainable, and 2026 might be the year we finally acknowledge it. > Yalçın argues that when machines can generate endlessly, the most radical artistic act becomes the decision to mean something specific—to care, to take responsibility for form and consequence. The physical returns with renewed urgency because texture, imperfection, and gestures that cannot be undone begin to matter structurally, not sentimentally. Can we build spaces for art that don't demand constant performance, where silence functions as material again? [Read the original article →](https://www.dailysabah.com/arts/how-art-welcomes-2026-unbearable-weight-of-keeping-meaning/news?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-70) --- *DEFINITELY NOT AI* --- ![Student Arrested After Eating AI Art and 'Ruining' Display](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_bff16737-2576-4a50-a306-1948a2490872.jpg) ## Student Arrested After Eating AI Art and 'Ruining' Display A student at the University of Alaska Fairbanks was arrested for eating AI art. Yes, you read that right—eating it. Graham Granger ripped 57 out of 160 images off gallery walls and consumed them in what he called a protest against AI-generated work, according to Connor Bennett at Dexerto. The artist, Nick Dwyer, had created the exhibition to explore his experience with "AI psychosis," making this act of destruction both ironic and troubling. I honestly can't decide where this story belongs. Should it be filed under "definitely not AI," or is the protest itself the actual artwork here? There's something meta about it—almost collaborative in a strange way. It reminds me of that banana taped to a wall that sold for six million euros at Art Basel in Miami. > Even some Reddit commenters wondered if the damage was "secretly the art piece," though Dwyer quickly shut that down. He's pressing charges, pointing out the personal nature of the work and the labor involved in hand-cutting and hanging each piece. Where exactly does performance art end and criminal mischief begin? [Read the original article →](https://www.dexerto.com/entertainment/student-arrested-after-eating-ai-art-and-ruining-display-3305489/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-70) --- *EXHIBITIONS & EVENTS* --- ![FILE 2026 - Call for Entries - Art and Technology Festival](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_21c12b18-e267-43c4-af4d-9a09e8284440.jpg) ## FILE 2026 - Call for Entries - Art and Technology Festival Brazil's FILE—the Electronic Language International Festival—just opened its call for entries ahead of its 26th edition running August through October 2026 in São Paulo. The festival, detailed on I Send You This, welcomes artists, researchers, and educators to submit work exploring what they call "contemporary technological poetics," where interfaces, data, space, and body converge. That phrase caught my attention. Art and tech festivals aren't exactly common, and I'm genuinely curious what "contemporary technological poetics" actually means in practice. The "Electronic Language" branding suggests a specific focus on communication and expression, yet the festival promotes itself as a broad art-and-technology intersection. I'd love to see a clearer definition that bridges those concepts. > FILE seeks projects that "propose new forms of perception, interaction, and critical and poetic reflection," which sounds ambitious but leaves me wondering how they evaluate what qualifies as sufficiently new or critical—and whether innovation in language systems gets priority over other tech-art approaches. If you're working at this intersection and have until February 19 to apply, what does your version of technological poetics look like? [Read the original article →](https://www.isendyouthis.com/opportunity/FILE-2026-Call-for-Entries-Art-and-Technology-Festival/10063?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-70) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![In the Age of AI, Can Art Expertise Be Digitised?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ec0cbdc9-fa86-4094-b2c1-fdd4edf8ee30.jpg) ## In the Age of AI, Can Art Expertise Be Digitised? The art world is facing a peculiar dilemma: AI tools are making bold authentication claims about Old Masters, declaring previously dismissed copies to be authentic Caravaggios and Rubenses—often over the objections of leading human experts. Jane Kallir, an authority on Egon Schiele who runs the Kallir Research Institute, pushes back hard in The Art Newspaper, arguing that AI's promise of objectivity misses what authentication actually requires. We've covered art authentication before in this newsletter and explored AI as an assistive technology in this space. I think this article dispels any notion that these tools might ever be more than that. There's a temptation to let AI be the final "objective determinator" of authenticating artworks, just as we see in other fields. But leaving it up to AI isn't necessarily wise. > Using AI as a tool to augment human capacities is one thing; letting it determine authenticity independently is quite another—and I don't think that's really being proposed. AI tools for authentication will continue to be useful to experts who know how to wield them without surrendering the decision-making entirely. Where do you draw the line between assistance and abdication? [Read the original article →](https://www.theartnewspaper.com/2026/01/16/in-age-of-ai-can-art-expertise-be-digitised?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-70) --- *THE LAST WORD* --- Thanks for reading. I'm genuinely curious where you draw the line between assistance and abdication in your own work—whether you're using AI for minor edits, complex reconstructions, or avoiding it entirely. Hit reply and let me know what you think. Best, Juergen ### The Science of Wonder URL: https://theintersect.art/issues/69/ Last updated: 2026-07-14T16:35:02.000Z Hi all, This week's stories focus on a question: when we try to measure art's value—through cortisol drops, depression metrics, or AI-powered engagement scores—are we actually understanding it better, or just reducing it to what fits on a spreadsheet? A fascinating UCL study claims viewing original artwork drops cortisol by 22% compared to just 8% for reproductions, but I can't help wondering if that's really about the art itself or simply the experience of leaving home and walking through museum spaces. Meanwhile, Douglas McLennan argues museums should build conversational AI "Digital Twins" to personalize interpretation at scale, which sounds promising until you remember my wife and I already do this with Perplexity because wall labels tell us so little. Elsewhere, six U.S. cities are finally transforming streets into permanent pedestrian zones, creating blank canvases for public art if we don't let them become well-designed but culturally empty spaces. Brian Dettmer carves obsolete encyclopedias into sculptures that expose the beautiful guts of outdated information technology. A retrospective of 25 years of design reminds us that the moments that change everything rarely feel safe when they first appear. And the debate over whether Norman Rockwell was patriot or antifa shows how quickly cultural symbols get weaponized when everyone's trying to claim the same nostalgic territory. If we keep routing art through scientific and metric lenses, measuring its impact in data points and engagement stats, will that deepen our respect for creative work—or quietly narrow what counts as a worthwhile experience? Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *PUBLIC ART* --- ![These 6 US Streets Will Become Scenic Pedestrian Zones in 2026](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_845c2794-5f31-47c3-af14-59b4da5d7026.jpg) ## These 6 US Streets Will Become Scenic Pedestrian Zones in 2026 American cities are finally catching up to their European counterparts. As Elissaveta M. Brandon reports for Fast Company, six U.S. cities—from Houston to San Francisco—are permanently transforming streets into pedestrian zones in 2026\. These aren't weekend experiments or seasonal closures. They're permanent reimaginings of public space, turning former roadways into promenades, plazas, and parks. What excites me most about this shift isn't just the urban planning victory—it's the opportunity for public art. These pedestrian zones are blank canvases waiting for creative intervention. Art doesn't just decorate these spaces; it gives them identity and makes them destinations worth visiting. > The synergy here is obvious but often overlooked: pedestrian spaces create the conditions for experiencing art the way it's meant to be experienced—slowly, from multiple angles, without the distraction of traffic or the rush to the next block. You can't appreciate a sculpture or mural from a car window at 30 mph. Will these new pedestrian zones become platforms for bold public art, or will they remain well-designed but culturally empty spaces? [Read the original article →](https://www.fastcompany.com/91460867/new-us-pedestrian-zones-in-2026?partner=rss&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-69) ![Who Owns Public Space? Three Active Models of Shared Management Shaping Urban Commons in Europe and New York](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b8d224b7-f541-47a9-8f55-5961c72e157d.jpg) ## Who Owns Public Space? Three Active Models of Shared Management Shaping Urban Commons in Europe and New York Three models for managing public spaces—from sponsoring historic benches in Paris gardens to building collaborative play areas in Bronx housing projects—are showing fresh approaches to who gets to care for and shape shared urban environments. Antonia Piñeiro's piece in ArchDaily walks through initiatives like Paris's Adoptez un banc sponsorship program, the Main Verte community garden framework, and New York's The Common Corner project at Morris Houses. For me, this resonates because of work I've done with non-profits supporting muralists. Too much of an artist's time working in public spaces gets eaten up by permissioning battles and bureaucratic red tape that makes displaying public art unnecessarily hard. These models matter because they show different pathways through institutional gatekeeping—whether it's sponsorship, self-management by citizen groups, or collaborative design processes. > What I find interesting about these approaches is they're not just about physical infrastructure. They're essentially testing governance models for creative expression in public domains. If we can establish frameworks for managing benches and gardens through distributed responsibility, why not public murals or street art? Could these participatory management structures finally give artists clearer paths to bring their work into public view? [Read the original article →](https://www.archdaily.com/1037479/who-owns-public-space-three-active-models-of-shared-management-shaping-urban-commons-in-europe-and-new-york?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-69) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Engaging with Art Is Good for Your Health, New Analysis Reveals.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c7b0fc9d-dcf2-4231-9882-816f1533a708.jpg) ## Engaging with Art Is Good for Your Health, New Analysis Reveals. Can going to the museum actually improve your health? Daisy Fancourt, an epidemiologist at University College London, says yes—and she's got a decade of data to prove it. Her upcoming book, *Art Cure: The Science of How the Arts Save Lives*, draws on studies tracking tens of thousands of people over decades, linking regular cultural engagement to reduced depression, lower blood pressure, and better cognitive function. Maxwell Rabb reports for Artsy that one particularly compelling finding from King's College shows viewing original artwork reduces cortisol by 22%, compared to just 8% for reproductions. Here's where I get skeptical, though. I love good news about art's health benefits—but this specific finding makes me question the methodology. My theory? The benefits might come from actually going out to a museum and experiencing the social and physical activity of that outing, not from some magical property of original art versus reproductions. > The King's College study followed 50 adults who viewed works by Manet, van Gogh, and Gauguin at The Courtauld Gallery, then compared their stress responses to viewing reproductions in a controlled environment. Yes, cortisol dropped more dramatically for the gallery group—but was that the art itself, or the act of leaving home, walking through museum spaces, and engaging in a cultural ritual? Maybe we need a third control group: people who just go to museums and look at the architecture. [Read the original article →](https://www.artsy.net/article/artsy-editorial-engaging-art-good-health-new-analysis-reveals?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-69) --- *AI IN VISUAL ARTS* --- ![11 Famous Roy Lichtenstein Paintings That Define Pop Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cea18668-7ddd-4c30-a973-0a50c8ccc25d.jpg) ## 11 Famous Roy Lichtenstein Paintings That Define Pop Art Art in Context's Isabella Meyer walks through eleven of Roy Lichtenstein's most defining paintings—from *Whaam!* to *Drowning Girl*—showing how he turned comic book panels and commercial graphics into museum-worthy art by scaling them up, flattening them with Ben-Day dots, and presenting them without apology. What was once considered "low" culture became fine art simply by being seen differently. I keep thinking about how Pop Art was genuinely strange when it arrived. Lichtenstein took what the art world dismissed—comics, ads, mass-produced images—and by reframing them with intention, forced everyone to reconsider what could count as serious work. We're in a similar tension with AI right now. On one side there's what people call "AI slop": low-effort, high-volume images churned out from generic prompts, optimized for feeds rather than meaning. > On the other side is quieter but far more interesting territory, where artists fold AI into a broader practice—using models as sketch partners or generative darkrooms—while staying firmly in charge of the vision and emotional core. Will there be a "Roy Lichtenstein of AI-supplemented art" who makes that difference impossible to ignore, legitimizing human-driven, AI-assisted practice without endorsing the flood of slop? [Read the original article →](https://artincontext.org/10-famous-roy-lichtenstein-paintings/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-69) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![AI That Turns Museums into Conversations: the Digital Twin](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_f5d35630-7396-41e5-ac87-6287e71092b1.jpg) ## AI That Turns Museums into Conversations: the Digital Twin Museums have spent decades chasing "engagement"—building apps, touchscreens, audio tours—yet still treat every visitor the same way, with identical wall labels whether you're a scholar or a tourist. ArtsJournal's Douglas McLennan argues that museums mistook engagement for amplification, wrapping technology around art rather than rethinking the relationship between art and visitor. What strikes me most is how digital culture moved from broadcast to dialogue years ago—comments instead of captions, meaning negotiated rather than delivered—while museums stayed frozen in one-way transmission mode. I've felt this gap personally. When my wife and I travel, we've started using Perplexity or custom AIs during museum visits, snapping photos of those minimal plaques and asking for deeper context. > That works remarkably well, often citing 70+ resources to create something like a personal tour. The fact that we're taking matters into our own hands says everything about the current state of museum interpretation. McLennan proposes a "Digital Twin" of exhibitions—conversational AI built from a museum's own scholarship that listens and responds in real time, adapting to what each visitor actually wants to know. Could this finally bridge the gap between the curatorial tour experience and the generic wall label? [Read the original article →](https://www.artsjournal.com/diacritical/2025/12/ai-that-turns-museums-into-conversations-the-digital-twin.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-69) --- *DESIGN* --- ![A Quarter Century of Design: the 25 Biggest Creative Moments of the Last 25 Years](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_64009062-e907-4ff0-8cfc-b1252bb6d862.jpg) ## A Quarter Century of Design: the 25 Biggest Creative Moments of the Last 25 Years Looking back at 25 years of design decisions reveals how dramatically our visual world has shifted—from the iconic iPod silhouette to AI-generated imagery that's rewriting creative rules. Creative Bloq has assembled the design moments that didn't just capture attention; they fundamentally altered how we create, consume, and think about visual culture. The list made me do a double-take at first. Apart from the nostalgia, this article made me go "wait, what?" But then each design trend totally made sense in its own way. Some choices seemed random or even questionable until you remember the context—the moment when that particular visual language broke through and suddenly everyone was speaking it. > What strikes me is how many of these "biggest moments" were initially controversial or misunderstood. The designs that change everything rarely feel safe when they first appear—they challenge our assumptions about what good design should look like. Which design moment from the past quarter-century fundamentally changed how you approach your own creative work? [Read the original article →](https://www.creativebloq.com/design/a-quarter-century-of-design-the-25-biggest-creative-moments-of-the-last-25-years?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-69) --- *SCULPTURE* --- ![Reference Books Are Carved and Cut into Sculptures That Transform Knowledge into Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_bdb6c4b2-18a1-436c-b78e-c97f3a14f61b.jpg) ## Reference Books Are Carved and Cut into Sculptures That Transform Knowledge into Art Atlanta-based artist Brian Dettmer transforms encyclopedias, atlases, and reference volumes into stunning sculptural forms by carefully carving away layers with surgical precision. As Sage Helene reports for My Modern Met, Dettmer doesn't add or rearrange anything—he simply removes material to expose the images, diagrams, and text already embedded within the pages. His current exhibition, *In-Formation*, runs through January 2026 at Riverside Arts Center in Illinois. What I love about this work is the playful irony at its core. Books themselves are technology—just old technology that we've largely moved beyond. We forget that printed reference books once represented the cutting edge of information storage and retrieval. Now they're being transformed into art objects, their original function rendered obsolete by digital alternatives. > These carved volumes force us to reconsider what happens when one technology supersedes another. Instead of simply discarding outdated media, Dettmer reveals their hidden beauty by turning them inside out—literally exposing the layers of knowledge they contain. What other obsolete technologies might deserve this kind of artistic resurrection? [Read the original article →](https://mymodernmet.com/brian-dettmer-altered-book-sculptures/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-69) --- *ART AND POLITICS* --- ![Norman Rockwell Was 'Antifa,' Says the Artist's Granddaughter](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_aed65a25-17b7-4f26-bb45-e9811a801d1d.jpg) ## Norman Rockwell Was 'Antifa,' Says the Artist's Granddaughter The Department of Homeland Security sparked a controversy this summer when it appropriated Norman Rockwell's paintings to promote what his family calls a "segregationist vision of America." Using images like *Salute the Flag*—showing only white Americans gazing at Old Glory—alongside Coolidge quotes about protecting the homeland, DHS recast the beloved illustrator as a culture war champion. Alex Greenberger reports for ARTnews that Rockwell's granddaughter, Daisy, fired back with a bold declaration: "Norman Rockwell was antifa." I find it fascinating how one person's patriot becomes another person's terrorist. The idea that Norman Rockwell—painter of Saturday Evening Post covers and small-town nostalgia—could be branded as either would have seemed absurd just years ago. Yet here we are, with both sides claiming him. > The reality sits somewhere in that uncomfortable middle ground. Rockwell himself said he was "continuously trying to eradicate" prejudices he was born with, and he did decline to paint recruitment posters for the Vietnam War. But was he antifa? Was he anti-fascist? The labels feel too neat for someone who spent a career painting nuance. Which version of America are we actually fighting over—his, ours, or the one we imagine existed? [Read the original article →](https://www.artnews.com/art-news/news/norman-rockwell-antifa-department-of-homeland-security-1234768466/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-69) --- *THE LAST WORD* --- Thanks for spending time with this week's stories. I'm genuinely curious whether you think measuring art's health benefits or designing AI museum companions brings us closer to understanding what art does for us—or just gives us comfortable numbers to cite. Either way, I'd love to hear your thoughts. Best, Juergen ### Who Gets to Hold the Pen? URL: https://theintersect.art/issues/68/ Last updated: 2026-07-14T16:34:59.000Z Hi all, This week's stories kept circling back to one uncomfortable question: when our tools get smarter, who's actually making the creative decisions? Take that experimental camera from Carnegie Mellon that can focus on everything at once—sounds impressive until you realize it's removing one of photography's most fundamental artistic choices. Or those AI-powered gallery TVs from LG and Samsung that cycle through subscription art libraries on your wall. They're convenient, sure, but who's curating your visual environment—you or an algorithm? The pushback is already forming. Designers are embracing what they're calling "human imperfection"—deliberately wobbly lines, torn edges, analog artifacts—as visible proof that a person still holds the pen. Brain imaging of improvising jazz musicians reveals something fascinating: mastery looks less like careful planning and more like trained instinct taking over when you stop overthinking. These aren't unrelated stories. They're all asking whether our increasingly helpful tools are actually assisting our creative vision or quietly authoring it for us. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *PUBLIC ART* --- !["Coming Together" Exhibition in Washington Explores Post-Pandemic Transformations of Community and Public Spaces](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f6e8a67a-8db6-4688-ad97-d5c023cb80ad.jpg) ## "Coming Together" Exhibition in Washington Explores Post-Pandemic Transformations of Community and Public Spaces Washington D.C.'s National Building Museum has launched *Coming Together: Reimagining America's Downtowns*, an exhibition that feels less like a traditional gallery show and more like a living workshop. Running through Fall 2026, it brings together examples from over 60 U.S. cities—parklets in Norfolk, adaptive reuse in Alexandria, community kitchens in D.C.—all showing how communities responded when the pandemic exposed what wasn't working in urban centers. Antonia Piñeiro's piece in ArchDaily walks through the three-gallery experience, including the City Action Hall where organizations can book space to strategize and share their downtown revitalization efforts. Strictly speaking, this isn't an art exhibition. But I find myself thinking about it like public art—people get to participate, vote on city initiatives, and shape how their urban spaces develop. That's meaningful. It serves a practical purpose, which I appreciate. > The line between art and design blurs when you're visualizing data about community needs or mapping out alternative futures for public space. Maybe it's not gallery art, but it's definitely design practice—and there's creativity in making complex urban planning decisions legible and inviting. Can participatory urban planning exhibitions like this bridge the gap between policy and the people those policies affect? [Read the original article →](https://www.archdaily.com/1037450/coming-together-exhibition-in-washington-explores-post-pandemic-transformations-of-community-and-public-spaces?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-68) --- *PHOTOGRAPHY* --- ![This Experimental Camera Can Focus on Everything at Once](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_33ef4474-517e-4673-a0ad-a656aac11459.jpg) ## This Experimental Camera Can Focus on Everything at Once Researchers at Carnegie Mellon University have developed a camera lens system that can focus on everything at once—near, far, and everywhere in between. Using what they call "spatially-varying autofocus," the experimental setup essentially gives each pixel its own adjustable lens, combining a Lohmann lens with a spatial light modulator and two types of autofocus methods. Jess Weatherbed reports for The Verge that while this tech won't appear in consumer cameras anytime soon, it could reshape everything from microscopy to autonomous vehicles. As a former photographer, I find this technologically interesting, but I think controlling depth of field is a better option than something the camera does automatically. Our smartphones already have super wide-angle lenses with great depth of field built-in. In fact, the reverse phenomenon is being added computationally—phones now add pleasing blur (bokeh, from the Japanese term for that aesthetic quality) to portrait images, simulating the expensive shallow-focus lenses that photographers have long prized. > It's somewhat ironic that these technologies are going computational now. For medical imaging and specialized applications, sure, I can see the value. But for consumer devices? I don't think it will be a hit because smartphones already handle depth of field perfectly well for hobbyists. Maybe the real question isn't whether we can focus on everything, but whether we should. [Read the original article →](https://www.theverge.com/news/850689/camera-focal-lens-technology-research?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-68) --- *DEFINITELY NOT AI* --- ![The Improv Artists Working for AI Companies](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_a081c9cd-bdc9-4f49-9d43-05b2ce6b9aa0.png) ## The Improv Artists Working for AI Companies When theater artists start showing up at AI companies, something unexpected is happening. Lily Janiak's piece for the San Francisco Chronicle explores how Bay Area improv performers and visual artists are finding surprising opportunities inside the tech world—not as data points to be harvested, but as essential human facilitators teaching genuine connection and creative adaptability. I'm cautiously optimistic about these early partnerships. They represent a shift from AI simply consuming artistic labor to actually employing artists for their irreplaceable human skills—active listening, spontaneous collaboration, the ability to pivot when things don't work. It's the kind of cross-pollination that makes me curious rather than defensive. > What strikes me most is the role reversal: tech companies discovering that their employees need what artists have always practiced—the courage to say yes to wild ideas, to fail gracefully, to stay present in moments of uncertainty. These aren't soft skills; they're survival skills in an industry built on constant disruption. But I keep wondering: will this recognition of artistic expertise expand, or will it remain a niche curiosity? [Read the original article →](https://www.msn.com/en-us/technology/artificial-intelligence/can-theater-artists-work-inside-the-ai-industry/ar-AA1T7yoO?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-68#new%5Ftab) --- *DESIGN* --- ![LG Challenges Samsung's the Frame with Its New Gallery TV](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c5bcf0c3-c068-460c-9b58-f1444d7d0a92.jpg) ## LG Challenges Samsung's the Frame with Its New Gallery TV LG just unveiled its Gallery TV ahead of CES 2026, taking direct aim at Samsung's wildly popular The Frame. As Sammy Fans reports, both devices follow the same playbook: wall-mount flush, swap magnetic frames, and display artwork when you're not streaming. LG's version uses MiniLED tech with anti-glare coating and packs over 4,500 artworks through its Gallery+ service, plus AI image generation and Bluetooth music playback. We've covered various digital frames in this newsletter before, and this is yet another sign the market's growing. I still prefer e-ink displays—they feel more like actual picture frames you can hang independently, with batteries lasting around 500 days. No plugging in, no unsightly wires dangling down your wall. > The Samsung and LG picture frames are really stand-ins for a TV that looks a bit like a picture frame but still requires installation with HDMI cables and power supplies—not exactly practical if you just want to hang a picture frame in some places around the house. That said, these TV-based frames are priced like TVs, which makes them affordable for really large displays, while the 31-inch e-ink frames we've featured still hover around $1,200\. Will this broader market interest eventually make e-ink display frames more accessible? [Read the original article →](https://www.sammyfans.com/2025/12/30/lg-challenges-samsungs-the-frame-with-its-new-gallery-tv/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-68) ![Why the Biggest Design Trend of 2026 Is Human Imperfection](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_d413ba27-dd0e-4c66-ae97-e78a3661f24c.png) ## Why the Biggest Design Trend of 2026 Is Human Imperfection Design's newest rebellion has a name: human imperfection. WE AND THE COLOR examines how designers in 2026 are deliberately breaking the rules of polish and precision—embracing torn edges, asymmetry, and analog textures—as a direct countermeasure to AI's relentless perfection. The movement isn't just aesthetic; it's existential. When algorithms can generate flawless imagery in seconds, the wobble in a hand-drawn line becomes proof of human authorship. I find "aggressive imperfection" absolutely fascinating as a design trend. It's this beautiful paradox: prove your humanity by showcasing your imperfection, so we can tell you're not an AI. What strikes me even more is how this might reshape our standards of beauty itself—what we find authentically pleasing versus what we've been conditioned to admire. > The irony runs deep here. We've spent decades perfecting digital tools to eliminate every flaw, and now we're using those same tools to deliberately inject mistakes back in. The flaw becomes the signature, the error becomes the style. Are we witnessing a temporary reaction to AI fatigue, or the beginning of a permanent shift in how we value creative work? [Read the original article →](https://weandthecolor.com/why-the-biggest-design-trend-of-2026-is-human-imperfection/207545?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-68) ![Generic Design Will Be Punished in 2026 — Why Original Thinking Becomes the New Competitive Advantage](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b19f8f62-9db4-4454-9c87-dcff504eb462.jpg) ## Generic Design Will Be Punished in 2026 — Why Original Thinking Becomes the New Competitive Advantage The age of safe, interchangeable design is ending—and not gently. In a sharp piece from WE AND THE COLOR, the argument is clear: 2026 will punish generic work because AI has made polished visuals abundant, stripping sameness of its protective value. When everyone can produce clean layouts and neutral branding, those qualities stop mattering. What rises instead? Intention, specificity, and visible decision-making. I keep circling back to one idea: taste cannot be automated. Generic design avoids taste because taste invites disagreement, and disagreement feels risky. But that's exactly what creates distinction. Strong brands don't need everyone to like them—they need clarity over consensus. Taste means saying no, excluding alternatives, making choices that some will reject. That's what separates authors from operators. > The designers who thrive won't be the ones who follow every trend or apply every template. They'll be the ones willing to exclude, willing to stand behind decisions that feel uncomfortable, willing to create work that doesn't please everyone but resonates deeply with the right people. So here's the question: when was the last time you designed something that made you genuinely nervous to show? [Read the original article →](https://weandthecolor.com/generic-design-will-be-punished-in-2026-why-original-thinking-becomes-the-new-competitive-advantage/207528?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-68) --- *ART & SCIENCE* --- ![Here's What's Happening in the Brain When You're Improvising](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_523237e8-5513-4eaf-8556-871f879d08ca.jpg) ## Here's What's Happening in the Brain When You're Improvising When jazz pianists at the Royal Academy of Music improvised their way through "Days of Wine and Roses" inside brain scanners, neuroscientist Peter Vuust and researcher Henrique Fernandes discovered something unexpected: the freer the improvisation, the less the brain relied on networks associated with planning and self-monitoring. Instead, it fell back on fast, well-trained auditory and motor systems. Kristen French reports in Nautilus that as creative freedom increased, entropy in the music increased too—more notes, less predictability, more surprise. I find myself wondering how this translates to other creative zones. Does a painter entering flow experience this same neurological shift? What about writing poetry or coding an elegant solution? The brain scan findings suggest that practiced improvisation isn't about thinking harder—it's about thinking less and trusting your trained instincts. > The researchers compared jazz improvisation to conversation, and that comparison resonates deeply: "musicians rely on a shared vocabulary, respond to dynamic cues in real time, anticipate replies, build phrases on the fly." The brain data backs this up—improvisation looks less like planning and more like fluent, embodied communication, like speaking to a loved one. If creativity emerges when we stop overthinking and let our trained networks take over, what does that mean for how we teach and cultivate artistic practice? [Read the original article →](https://nautil.us/heres-whats-happening-in-the-brain-when-youre-improvising-1258457/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-68) --- *VIRTUAL AND AUGMENTED REALITY IN ART* --- ![The Convergence Era: Why Museums Must Move Beyond the Building](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_53065468-e469-4b29-9893-64d72417741b.jpg) ## The Convergence Era: Why Museums Must Move Beyond the Building Imagine pointing your smartphone at a leaf and instantly accessing a museum's botanical collection, historical artwork featuring that species, and environmental data about the tree. Mark Walhimer, a 30-year veteran of museum design, calls this future "Museums Everywhere"—a distributed intelligence that transforms our surroundings into interpretive layers. He's released two white papers exploring how AI, IoT, and blockchain could create what he describes as a "singularity" where museums become tools for public empowerment rather than buildings we visit. I see these ideas as proposals for extending museum reach, not replacing the physical experience. The notion of engaging curiosity about art history in the natural world outside museum walls? I'm completely on board for that. > What excites me about Walhimer's vision is how it positions technology as a bridge between formal institutions and everyday wonder—enabling someone to look at a tree, a building, or a painting in their local cafe and immediately access the kind of context that museums have traditionally guarded within their walls. Could this distributed approach actually democratize access to cultural knowledge, or will it become just another app we ignore? [Read the original article →](https://www.museumplanner.org/the-convergence-era-why-museums-must-move-beyond-the-building/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-68) --- *THE LAST WORD* --- As always, I'm curious what you think about these developments. Are we entering an era where visible imperfection becomes the new authenticity marker? Or will we find other ways to prove human authorship? Hit reply and let me know—I read every response. Best, Juergen ### Beyond the First “Wow” URL: https://theintersect.art/issues/67/ Last updated: 2026-07-14T16:34:57.000Z Hi all, This week's stories keep circling back to the same uncomfortable question: when algorithms can produce convincing images faster than anyone can trace their lineage, what makes something worth trusting? Beeple's installation at LACMA lets museum visitors transform German Expressionist woodcuts into AI-generated variations displayed across 12 video screens—but knowing an algorithm can crank out hundreds per minute changes how I value the result. Marco Brambilla took a different approach with his World's Fair project, training his own AI model on decades of archival research rather than just firing up ChatGPT. The difference matters, but it's getting harder to explain why. The legitimacy battles are heating up everywhere. NOT REAL ART's year-in-review traces digital artists fighting the same acceptance struggles photographers faced a century ago, while Marco Savarese's editorial warns that AI photography risks becoming "plausible fiction detached from any encounter." Meanwhile, the human-made design movement claims a 60% premium, and everyone from Adobe to designers clinging to "authenticity" as their differentiator. Bradford just closed out its year as UK City of Culture with three million attendees and surging creative course applications—proof that when people participate in something real, they don't forget it. I've been stepping back from digital tools lately—just acoustic guitar, pencil sketches, charcoal drawings. Maybe it's seeking comfort in the analog, or maybe it's exhaustion with constant commentary. Either way, this week asks: if the "wow" of infinite variation is cheap and instant, what new forms of commitment will make an image feel worth trusting again? Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *ART NARRATIVES* --- ![Everything Worth Seeing, Hearing, and Thinking About in Art This Year](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_bb9b4c61-0489-4616-b91d-1aeb922f39af.png) ## Everything Worth Seeing, Hearing, and Thinking About in Art This Year NOT REAL ART just published their 2025 year-in-review, and what strikes me is how editor-in-chief Morgan Laurens frames the context without turning it into a pity narrative. Yes, the NEA slashed funding and layoffs hit creative industries hard. But the review stays focused on what artists and cultural workers produced anyway: podcasts interrogating digital art's legitimacy battles, Art21 pushing Season 12 forward after losing an $85,000 NEA grant, exhibitions reclaiming the witch as a symbol of power, and interviews with artists making work that asks uncomfortable questions. A few highlights stuck with me. Rebekah Tolley's case for "Digitalism" traces a lineage from Nam June Paik to today's boundary-pushers—digital artists fighting the same legitimacy battles photographers faced a century ago. Edie Nadelhaft's "Biometric Portraits" turn irises and fingertips into alien landscapes, then catch you staring at yourself with reflective domes—a meditation on how willingly we surrender our data to Big Tech. > I also want to name the bigger structure behind this work. NOT REAL ART isn't standalone; it's one branch of Arterial, a mission-driven nonprofit storytelling platform dedicated to amplifying the arts. Scott Power is the founder driving that ecosystem, and he's my friend, colleague, and a client I value. When I say I'm proud to be associated with this work, I mean the whole pipeline: the reporting, the podcasts, the production, and the fundraising work that keeps it all viable. How do we build cultural infrastructure that survives funding cuts and keeps asking the questions that matter? [Read the original article →](https://notrealart.com/year-in-review-2025/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-67) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Media Art in the Spirit of a New Era](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5e97c5b9-d9db-49e4-aeaa-f2f8540a9bb1.jpg) ## Media Art in the Spirit of a New Era Ars Electronica's 2025 year-in-review isn't just chronicling another festival season—it's documenting a moment when artistic engagement transformed from cultural commentary into essential infrastructure for social orientation. Mario Schmidhumer's comprehensive report traces how geopolitical earthquakes, AI's technological arms race, and ecological emergencies demanded that artists step forward not as observers, but as navigators through collective panic and uncertainty. The piece makes me reflect on something I've been wrestling with lately: the pull between engagement and retreat. I've found myself stepping back from digital tools entirely—just acoustic guitar, pencil sketches, charcoal drawings. It feels like seeking comfort in the analog, and maybe there's an age or generational component to this. Young artists in conflict zones produce incredible work under conditions where Maslow's hierarchy should make creation impossible, while I have the luxury of self-actualization. That gap humbles me. > I heard a poem about dogs recently that stuck with me—they walk out naked into the world every day, uncertain where their next meal comes from, trusting completely in their bond with their owners. Perhaps artists who aren't commenting on politics are striving for that same presence, that detachment and gratitude just for being alive. What if our exhaustion with constant commentary is itself a signal worth listening to? [Read the original article →](https://ars.electronica.art/aeblog/en/2025/12/23/media-art-in-the-spirit-of-a-new-era/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-67) ![Bradford Ends Its 'City of Culture' Year](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_61116494-9aee-44bc-af35-8783bf711321.jpg) ## Bradford Ends Its 'City of Culture' Year Bradford just closed out its year as UK City of Culture, and the numbers tell part of the story: £51 million spent, three million attendees, 5,000 events including the Turner Prize. The BBC reports that train traffic from London jumped 29%, and city centre footfall increased by a quarter. Some local businesses didn't see the boost they expected, but applications for creative courses at Bradford College have surged. What strikes me most is how much of this isn't simply transactional—the money in versus money out calculation. Three million people participated in these events, and they won't soon forget it. That's how you establish a cultural legacy for a city. The impact runs deeper and will last longer than any spreadsheet can capture. > I find myself thinking about the 87,000 people who performed or participated, the 160 schools that got involved. These aren't passive audiences—they're contributors to something larger than themselves, and that changes how people see their own city. What happens when the spotlight moves on and a place has to sustain that cultural energy on its own? [Read the original article →](https://www.bbc.com/news/articles/c2k43lddknvo?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-67) --- *AI IN VISUAL ARTS* --- ![Visual Artist Marco Brambilla on Agency and the Artist's Negotiation with Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_87daf8c5-3d93-4ab9-92f5-be459397b0f6.jpg) ## Visual Artist Marco Brambilla on Agency and the Artist's Negotiation with Technology Visual artist Marco Brambilla's new work *After Utopia* reimagines 135 years of World's Fairs through AI, screening at The Wolfsonian-FIU through March 2026\. In conversation with Katy Diamond Hamer at The Creative Independent, Brambilla explores how these expos served as time capsules of technological aspiration—from railroads to computing to AI itself—and how his three-channel video installation questions whether we're guiding our destiny or becoming passengers in it. I've been fascinated by world fairs since childhood, drawn to those futurist visions of what our future would look like. It's always striking how quaint today's reality seems compared to the lofty aspirations those fairs—and the broader culture through art, literature, and science fiction—had us imagining back then. > What I find interesting about this work is that Brambilla didn't just fire up ChatGPT and call it a day. He actually trained his own AI model on the contents and artifacts from decades of world fairs he's been carefully studying. That's a fundamentally different approach—using AI as a research and sketching tool rather than a shortcut. How do we maintain creative agency when the tools themselves start making aesthetic decisions? [Read the original article →](https://thecreativeindependent.com/people/visual-artist-marco-brambilla-on-agency-and-the-artists-negotation-with-technology/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-67) ![Diffuse Control by Beeple Iteration: Matrix Residua](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_031a6708-5922-49f8-b3c7-35fde9a87c08.jpg) ## Diffuse Control by Beeple Iteration: Matrix Residua Beeple's *Diffuse Control* at LACMA invites museum visitors to collaborate with AI in transforming German Expressionist woodcuts from the collection into new generative images displayed across 12 large video screens. In an essay on LACMA's Unframed blog, curatorial assistant Hope Flores frames the "Matrix Residua" iteration as asking whether AI can celebrate rather than obscure the hand of the artist—drawing connections to Walter Benjamin's warnings about mechanical reproduction and fascist spectacle. I'm wrestling with how I feel about this whole class of AI art that "reinterprets" old masters. Yes, the iterations look striking. But knowing an algorithm can crank out hundreds of these per minute devalues the work for me. I'm still trying to figure out my own line between generative AI that adds something meaningful and what's basically algorithmic slop. Beeple's a respected artist who asks good questions, so I'm not dismissing this outright. > The wonder of endless amazing imagery pouring from algorithms has faded incredibly fast given how ubiquitous AI-generated art has become. For me, the human value centers on intent and story—something beyond using someone else's masterpiece as a starting point. For people encountering generative AI visuals for the first time, this interactive sculpture might be fascinating—but is that enough? [Read the original article →](https://unframed.lacma.org/2025/12/23/diffuse-control-beeple-iteration-matrix-residua?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-67) --- *PHOTOGRAPHY* --- ![AI and the Illusion of Photography](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_0cdf0cb8-bcaa-41b9-b3de-ae8ef181758f.jpg) ## AI and the Illusion of Photography Photography has always been technological, but there's a difference between tools that extend your vision and tools that replace it entirely. In a sharp editorial note from Eyeshot Street Photography, editor Marco Savarese argues that AI challenges photography's fundamental nature—presence, choice, and responsibility toward what's actually in front of the lens. What caught my attention was this line: when AI starts deciding what to improve, remove, or add, we're no longer working with reality but with its simulation. And here's the thing—a simulation can be convincing, even beautiful, but it's never neutral. That shift matters more than we might think. > The real risk isn't that AI-altered images will be bad. It's that they'll be too easy, erasing the friction and unpredictability that comes from confronting reality. Photography becomes an automatic answer instead of an open question. Are we smart enough to know when not to use the tools we've invented? [Read the original article →](https://www.eyeshotstreetphotography.com/ai-and-the-illusion-of-photography/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-67) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![Human-Made Design Authenticity Answers the Growing Demand for Genuine Human Connection](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1b7d3f45-07bc-4f8a-8c21-d04c1e49be17.jpg) ## Human-Made Design Authenticity Answers the Growing Demand for Genuine Human Connection WE AND THE COLOR explores a cultural shift I've been feeling acutely: in 2026, authenticity isn't just a buzzword—it's become the primary way consumers distinguish between creative work they trust and the flood of synthetic content washing over us. The article dives into the "Not By AI" movement, Reddit's role as an authenticity reality-check, and why human-made design now commands a 60% premium. I predict a growing backlash against AI integration across culture, arts, and politics. But here's what keeps me up at night: what does proving authenticity actually mean in practice? Video podcasting might demonstrate genuine human connection, but how does a photographer differentiate their work from AI imagery? We covered sculptors in our last issue whose miniature worlds were so skillful people assumed they were AI-generated—when they represented pure human dedication and craft. > The real question isn't whether we can create badges and certifications for human-made work, but whether we're prepared to fundamentally rethink value itself in an age where machines can mimic nearly everything except lived experience and intentional imperfection. Are we heading toward a future where the most valuable creative act is simply proving you're human? [Read the original article →](https://weandthecolor.com/human-made-design-authenticity-answers-the-growing-demand-for-genuine-human-connection/207475?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-67) --- *DESIGN* --- ![AI Was a Key Trend for 2025, but Some of Adobe's Predictions for 2026 Seem to Focus on the One Thing AI Cannot Do. I Think This Is the Key to Standing Out as a Creative in an AI World](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b1d0378b-a4ba-458b-8a44-b4bc8f7763b0.jpg) ## AI Was a Key Trend for 2025, but Some of Adobe's Predictions for 2026 Seem to Focus on the One Thing AI Cannot Do. I Think This Is the Key to Standing Out as a Creative in an AI World Adobe's 2026 Creative Trends Forecast does something unexpected—alongside the predictable AI mentions, it emphasizes emotion and authenticity as defining creative directions. As Digital Camera World reports, this focus on what AI cannot replicate might be the key to standing out as a creative in an increasingly automated world. I keep seeing authenticity positioned as the magic bullet for 2026\. While the broader art world grapples with AI's influence, the design world is getting hit even harder. Fashion photography, catalog production, publishing, interior design, UX design, advertising—all of these fields are flooded with AI toolsets. Designers are understandably worried about their relevance and careers, and right now everyone's clinging to "authenticity" as their lifeline. > I wonder for how long that will be enough. When every designer claims authenticity as their differentiator, does it still differentiate anything at all? The question isn't whether authenticity matters—it clearly does—but whether it's a genuine creative philosophy or just the industry's latest security blanket. [Read the original article →](https://www.digitalcameraworld.com/tech/artificial-intelligence/ai-was-a-key-trend-for-2025-but-some-of-adobes-predictions-for-2026-seem-to-focus-on-the-one-thing-ai-cannot-do-i-think-this-is-the-key-to-standing-out-as-a-creative-in-an-ai-world?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-67) --- *THE LAST WORD* --- Thanks for reading. I'm genuinely curious how you're navigating these questions in your own practice—whether you're leaning into the tools or stepping back from them entirely. If something here sparked a thought or disagreement, I'd love to hear it. Best, Juergen ### Creative Practice in 2025: Mapping the Actual Terrain URL: https://theintersect.art/issues/66/ Last updated: 2026-07-14T16:34:55.000Z Hi all, This week feels like scanning the horizon for what's already happening. We're looking at how 87% of musicians now use AI in their workflow—not as a curiosity, but as infrastructure for everything from production to promotion. Adobe rolled out text-prompt video editing that lets you adjust pacing and fix frames without regenerating entire clips, while their Content Authenticity Initiative tags AI-generated content with visible metadata. And in what might be the biggest practical shift for creators, the U.S. Copyright Office ruled that purely AI-generated work—without meaningful human input—isn't eligible for copyright protection. Meanwhile, the cultural responses are getting more interesting. Louis Bury's year-end survey argues that some of 2025's most inventive creative work happened outside traditional galleries—in Skibidi toilet videos, NFT collections, and TikTok lore he calls "digital folk art." Caroline Dewison's miniature dioramas are so skillfully crafted that people assume they're AI-generated, which says something about how our baseline for astonishment has shifted. And then there's Marco Rubio banning Calibri at the State Department for being too associated with DEI, replacing it with Times New Roman in the name of "professionalism"—because apparently font choices are now cultural battlegrounds. What strikes me about these stories together is how they map the actual terrain of 2025: not hypothetical futures, but the practical questions creators are wrestling with right now about tools, ethics, authorship, and what counts as legitimate artistic practice. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *TECHNOLOGY IN MUSIC* --- ![Study: 87 Percent of Musicians Are Using AI in Their Work](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_5a8ca0fb-cb65-4050-9138-213d3e12b758.jpg) ## Study: 87 Percent of Musicians Are Using AI in Their Work LANDR's new study reveals something unexpected: 87% of musicians now incorporate AI into their workflow. The Montreal-based music tech platform surveyed over 1,200 music makers globally and found that AI isn't just a curiosity—it's becoming essential infrastructure. From production and songwriting to promotion and fan engagement, AI is reshaping what solo artists can accomplish without a team. What strikes me about this data is the distinction between using AI to generate creative content versus using it to amplify reach. I'm still uncomfortable with how much generative AI is being used in actual music production—the study shows 29% already use song generators to create parts of tracks. But from a marketing, release automation, and audience-building perspective? That makes complete sense to me. Artists shouldn't have to spend their entire lives on promotional tasks. > The parallel with visual arts is fascinating. Whether you're a traditional woodworker, painter, or fabric sculptor, AI can help you reach a wider audience and function across social media platforms without sacrificing all your creative time to promotion. At Polymash, we help artists set up these systems—and yes, it still takes significant work to configure properly. This shift toward self-sufficient creators raises one essential question: where do we draw the line between using AI as a megaphone and letting it replace the voice itself? [Read the original article →](https://landr2.prowly.com/435336-landr-study-uncovers-how-87-of-artists-really-use-ai?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-66) --- *FILM & VIDEO* --- ![Adobe's Firefly AI Now Lets You Edit Videos by Describing Changes](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_780e7577-e2c4-4490-9e9f-19ab41e039af.jpg) ## Adobe's Firefly AI Now Lets You Edit Videos by Describing Changes Adobe just rolled out major updates to Firefly AI that transform it from a simple video generator into a full editing workspace, as Manisha Priyadarshini reports for Digital Trends. The standout feature? Text-prompt editing that lets creators make precise tweaks—like adjusting pacing or fixing off-looking frames—without regenerating entire clips. Add timeline editing, transcript-based cutting (delete a line of dialogue, and Firefly trims the corresponding video), and integrations with Runway's Aleph model for precise changes and Topaz Labs' Astra for upscaling to 4K, and you've got Adobe's bid to stay competitive in an increasingly crowded AI video space. This reminds me of Guillermo del Toro's blanket rejection of AI for his projects. But what's actually happening on the ground tells a more nuanced story. Filmmakers, editors, and production designers are incorporating AI-powered tools—not to generate entire scenes from prompts, but to make small edits, rearrange clips, and upscale low-quality footage. I personally use Topaz for photo enlargements, taking my iPhone photos and creating large-scale prints from them, even from cropped portions, and it does a remarkable job. > The reality is that this isn't a black-and-white question of rejecting or approving "AI" as a blanket term. It's becoming more granular—discussing what AI-powered toolsets might be acceptable for artists to use in their own practice without substituting the creative process or entire work product. Avoiding AI-powered toolsets is a lost cause at this point, so the conversation needs to shift toward the ethics of usage—preserving human connection, authenticity, intent, and impact rather than letting machines do all the work. [Read the original article →](https://www.digitaltrends.com/photography/adobes-firefly-ai-now-lets-you-edit-videos-by-describing-changes/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-66) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![The Year in Digital Folk Art: Much of 2025's Creative Innovation Happened Outside the Art World](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_71d5d99b-4138-4b35-87ac-11f5b016e9d5.png) ## The Year in Digital Folk Art: Much of 2025's Creative Innovation Happened Outside the Art World Louis Bury's year-end roundup in *ARTnews* surveys the thriving world of digital folk art—from Skibidi toilet videos to NFT collections, from AI-generated political satire to TikTok lore—making a compelling case that some of 2025's most inventive creative work happened outside traditional gallery walls. His list of ten examples spans everything from Dean Kissick's examination of "Vulgar Images" to Aidan Walker's brilliant analysis of meme culture's formal innovations. It's a somewhat unique perspective to think of NFTs or Skibidi toilet videos or 67 memes as "folk art." The label initially feels odd, almost too generous. But the more I sit with it, the more it makes sense. These works do share that devotional quality—creators making things for niche communities, often for little or no compensation, driven by the pure act of creation rather than art market validation. > What strikes me most is how this reframing challenges our assumptions about what counts as legitimate artistic practice. If folk art has always been work created outside official channels, then meme creators and TikTok artists might be the truest folk artists of our era. Can the traditional art world learn something from digital folk art's economics of abundance rather than scarcity? [Read the original article →](https://www.artnews.com/list/art-in-america/columns/digital-folk-art-2025-aidan-walker-john-por-1234764932/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-66) --- *AI IN VISUAL ARTS* --- ![AI Art Just Caught a Cold — and IT Might Be Contagious](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_83aeacb0-b50a-4101-b7f3-2070606c97f6.jpg) ## AI Art Just Caught a Cold — and IT Might Be Contagious The U.S. Copyright Office delivered what Art-Sheep calls a "juridical chill" to the AI art world: works generated entirely by AI, without meaningful human creative input, are not eligible for copyright protection. If your creative process ends at typing a prompt and clicking download, the legal system now treats that output as unprotectable. The guidance demands demonstrable human authorship—editing, arrangement, compositional choices—before copyright can be claimed. This is one of the small wins for artists in 2025\. We've touched on this theme before—the distinction between AI-generated imagery and actual art. This ruling matters because it makes pure prompt-to-output work harder to monetize. Without copyright protection, those banking on the "prompt-to-profit fantasy" suddenly find themselves without the legal foundation needed to sell or license their outputs. > The ruling defends something deeper than revenue: it protects the cultural idea that creativity involves deliberation, revision, and judgment. AI can generate forms, but it can't shoulder the moral friction and intentional failure that make art meaningful. Will this stop AI generation? Not remotely—but it forces a question about what we value when we talk about authorship. [Read the original article →](https://art-sheep.com/ai-art-just-caught-a-cold-and-it-might-be-contagious/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-66) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![International Online Conference: Museums Between AI, Fakes and the Power of Knowledge](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a04609e3-07fb-4610-8b24-8e661edccd37.jpg) ## International Online Conference: Museums Between AI, Fakes and the Power of Knowledge The Belvedere in Vienna is hosting its eighth annual conference on "The Art Museum in the Digital Age" this January, bringing together over 500 participants from around the world to tackle questions about AI, fake news, and what it means to be a trusted source of knowledge in an era of algorithmic bias and AI-generated content. Art Daily reports the five-day online event will feature sessions on everything from UNESCO frameworks for AI to the ethics of large language models in museum practice. But here's what caught my attention in the conference description: the phrase "museums can rethink their role as trustworthy spaces for knowledge dissemination." That presupposes museums exist primarily as knowledge vessels. But is that really what art is about? Knowledge? Dissemination? I'm genuinely curious what roles we think museums should play beyond being trusted information sources. > Sadly, Vienna is a bit far for me to travel just to find the answer, but the question feels worth sitting with: when did we decide that a museum's relationship to truth and knowledge should define its purpose? Maybe the real question isn't how museums maintain trust, but whether we've been asking them to do the wrong job all along. [Read the original article →](https://www.artdaily.cc/index.asp?int%5Fsec=11&int%5Fnew=189247&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-66) --- *DEFINITELY NOT AI* --- ![Fantasy Art by Caroline Dewison That Looks so Good That People Think It's AI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_297479ab-17b8-4ed5-823c-63c4958c225e.jpg) ## Fantasy Art by Caroline Dewison That Looks so Good That People Think It's AI When you first see Caroline Dewison's miniature dioramas—cascading waterfalls, ethereal ghosts, lush forests all contained in tiny boxes—you might wonder if they're AI-generated. That's the strange compliment skilled analog artists receive now, as Shanilou Perera notes in this DeMilked feature. Dewison works with Jesmonite, acrylic paint, delicate brushwork, and even a 3D-printing pen to create these fantastical worlds. I've heard "proudly analog" several times this week from people returning from Art Basel, where a rejection of the digital seemed to be a major theme. The irony hits hard: the extraordinary craftsmanship that goes into creating these miniature worlds means Caroline's work gets mistaken for AI at first glance. > It's sort of sad to think that the amazement and wonder we would have gotten from looking at such works 10 years ago has been replaced with amazement and wonder that it's *not* AI-generated. Has our baseline for astonishment fundamentally shifted? [Read the original article →](https://www.demilked.com/caroline-dewison-mini-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-66) --- *DESIGN* --- ![Marco Rubio Bans Calibri Font at State Department for Being Too DEI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_eddf2d14-9478-4616-973f-2b55dc606606.jpg) ## Marco Rubio Bans Calibri Font at State Department for Being Too DEI Secretary of State Marco Rubio has officially declared war on Calibri, banning the font at the State Department for being too associated with DEI initiatives. As TechCrunch's Julie Bort reports, the sans-serif typeface—adopted in 2023 specifically to make documents more accessible for people with dyslexia and vision impairments—has been replaced with Times New Roman in what Rubio calls an effort to "restore decorum and professionalism." Yes, you read that right: a font choice is now a political statement. Look, I live in Florida, so watching our political leaders wage cultural wars against typography feels oddly on-brand. Part of me was genuinely hoping Rubio would've picked Comic Sans instead of Times New Roman. That would've been perfectly Florida man-like—chaotic, inexplicable, and guaranteed to make everyone equally uncomfortable. > The absurdity here isn't just that we're politicizing letterforms—it's that we're actively choosing to make government documents *harder* to read for people with disabilities, all in the name of "tradition." Meanwhile, even The New York Times abandoned Times New Roman almost twenty years ago. What does it say about our priorities when accessibility improvements get branded as radical excess? I wonder what font the next cultural panic will target? [Read the original article →](https://techcrunch.com/2025/12/10/marco-rubio-bans-calibri-font-at-state-department-for-being-too-dei/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-66) --- *CREATOR PLATFORMS AND TOOLS* --- ![Adobe MAX 2025: Promise and Protection in the Age of AI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e0bdf65e-31b6-4fc0-bd6b-6f303a6fb6e8.jpg) ## Adobe MAX 2025: Promise and Protection in the Age of AI Adobe's annual MAX conference in Los Angeles drew ten thousand attendees eager to witness the latest creative tools—from Generative Expand that lets you reshape image compositions to Harmonize, which seamlessly blends lighting across composite images. Aria Lee's coverage for Design Milk walks through six transformative features, but the real story isn't about what these AI-powered tools can do. What impressed me about Adobe's approach is how they're handling the ethics around AI integration. They're not just throwing these capabilities at users and hoping for the best—they're building in accountability from the start. > Their Content Authenticity Initiative adds metadata tags to AI-generated content, making the provenance visible. As Deepa Subramaniam from Adobe put it, using AI in their applications is absolutely a choice, and they want that choice to be visible in the asset because knowledge is powerful. The fact that creators themselves are designing these features feels less like corporate disruption and more like a coalition for creation. Can transparency and creator choice actually make AI integration feel less threatening to artists? [Read the original article →](https://design-milk.com/adobe-max-2025-promise-and-protection-in-the-age-of-ai/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-66) --- *THE LAST WORD* --- Follow 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics from our newsletter in a conversational format. ### When childhood shifts from making to consuming. URL: https://theintersect.art/issues/65/ Last updated: 2026-07-14T16:34:53.000Z Hi all, This week's stories keep circling back to the same uncomfortable question: are we building better tools for creativity, or are we just making it easier to hand everything over? Dave Stewart's new platform wants musicians to register their work so they can license it to AI companies—he calls generative AI an "unstoppable force," which might be pragmatic or defeatist depending on your mood. Meanwhile, illustrators are splitting into two camps: those panicking about AI and those like Paul Ryding who are having their best year in 25 years precisely because they're pushing back against it. What strikes me most is the exhibition by Jordan Porter-Woodruff examining what happens when children consume creativity rather than create it. That line about kids becoming "spectators to a simulation of imagination" hit harder than I expected—it reminded me of afternoons at my uncle's house with nothing but paper and art supplies, where boredom was the starting point, not something to escape. And then there's Beeple's robot dogs with billionaire heads dispensing blockchain photos at Art Basel, because of course there are. I can't decide if installations like that critique the system or just become another expensive piece of it. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *TECHNOLOGY IN MUSIC* --- ![Dave Stewart Says Musicians Need to Own Their Work so They Can License IT to Generative AI Platforms](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7b6f096d-729d-4430-b144-2c4f40377c6a.jpg) ## Dave Stewart Says Musicians Need to Own Their Work so They Can License IT to Generative AI Platforms Dave Stewart, one half of Eurythmics, just launched "Rare"—a platform that promises to help musicians own and register their work so they can then license it to AI companies. Chris DeVille at Stereogum reports that Stewart calls generative AI an "unstoppable force" and argues artists should get paid before their music gets absorbed anyway. The three major labels already struck a deal with AI platform Klay, and with lawsuits like Jorja Smith's label suing over voice cloning, Stewart's fatalism might not be entirely wrong. I'm honestly struggling to make sense of this. Stewart is building infrastructure specifically to enable musicians to hand their work over to AI scrapers? That can't be right, can it? The business speak on Rare's website about "conjuring entities" and "shifting landscapes" doesn't exactly clarify the value proposition here. > Stewart compares AI to the drum machines he used in Eurythmics—new technology that augments rather than replaces human creativity. But as DeVille points out, if AI is a tool for creative empowerment in the "right hands," why is Stewart urging artists to license directly to the "wrong hands" he's warning about? Is this protection or just making exploitation more efficient? [Read the original article →](https://stereogum.com/2482264/dave-stewart-says-musicians-need-to-own-their-work-so-they-can-license-it-to-generative-ai-platforms/news?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-65) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Endless Scrolling Induces Permanent Craving: Pangenerator Highlights Our Unhealthy Relationship with Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a4c756ec-51fb-4d14-bf79-4575e89284d0.jpg) ## Endless Scrolling Induces Permanent Craving: Pangenerator Highlights Our Unhealthy Relationship with Technology There's something simultaneously profound and absurd about the Polish collective panGenerator making gallery visitors kneel before a digital altar to scroll through meaningless symbols. Their installation *Infinity* (2020), covered by Aimee Dawson in *The Art Newspaper*, physicalizes what we do every day—scroll endlessly, searching for something that satisfies. By turning digital habits into physical performance, they make visible what we'd prefer to ignore: our unhealthy relationship with technology. One of my all-time favorite records is K.D. Lang's *Ingenue*, which had a track called "Constant Craving" that was a hit in the early nineties. That phrase keeps echoing in my mind here—constant craving for meaning, connection, relationships has always been part of the human condition. It can never be satisfied, and especially not by endless scrolling. > What strikes me about panGenerator's work is their resistance to playing the algorithm game, even as they critique it. Member Jakub Koźniewski admits catching himself designing installations with Instagram in mind, yet they refuse to post daily reels or chase viral aesthetics. There's integrity in that struggle—creating physical art about digital phenomena while refusing to let digital platforms dictate their creative choices. Can art that critiques social media truly succeed if it needs social media to be seen? [Read the original article →](https://www.theartnewspaper.com/2025/12/05/endless-scrolling-induces-permanent-craving-pangenerators-installations-highlight-our-unhealthy-relationship-with-technology?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-65) ![Jordan Porter-Woodruff: the Children Play Games](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1d282896-9dfa-4163-9121-aa472ebd9297.jpg) ## Jordan Porter-Woodruff: the Children Play Games Jordan Porter-Woodruff's exhibition *The Children Play Games* at Chicago's Epiphany Center for the Arts confronts a question that feels increasingly urgent: what happens when creativity becomes something children consume rather than create? Through photographs that blur physical and digital spaces, Porter-Woodruff examines how AI and algorithmic feeds are reshaping childhood imagination—and The Visualist captures the stakes beautifully. One line from the show's description stopped me cold: "When creativity is outsourced to algorithms, children risk becoming consumers of novelty rather than creators of it, spectators to a simulation of imagination that demands nothing of their own." It took me back to visiting my uncle's house in Germany as a kid—he later became a prolific painter. There were no TV shows or magazines to keep us occupied. Instead, he'd lay out paper, pens, and expensive art supplies, and we'd just create. It wasn't special; it was simply what we did. Creation, not consumption, was the default. > That experience taught me something I'm only now articulating: the frustration of making something from nothing isn't a bug—it's the entire point. When AI completes the story or generates the picture, it removes the struggle that actually builds the creative muscle. How do we safeguard spaces where children can still fail, fumble, and discover on their own terms? [Read the original article →](https://thevisualist.org/?p=186131&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-65) --- *AI IN VISUAL ARTS* --- ![Is Illustration Dead? Creatives Weigh in on AI and the Future of Commercial Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_73131dda-88ce-4975-a538-e6a2fe6f8b9d.jpg) ## Is Illustration Dead? Creatives Weigh in on AI and the Future of Commercial Art With AI anxiety at fever pitch, Tom May at Creative Boom asked illustrators a blunt question: is your field dying? The answers reveal something more interesting than panic—a split between those struggling and those thriving, with the difference often coming down to how they position their work. I love what Paul Ryding said: he's having his busiest year in 25 years of freelancing. His strategy? React against AI rather than adopt it. He pushes "handcrafted," "human-made," and "organic" to clients, reminding them that even if clients don't care where illustrations come from, audiences absolutely do. That's the key insight hiding in plain sight. > What stands out to me is how AI's threat has clarified what makes illustrators valuable—not just drawing skill, but lived experience, conceptual thinking, and the ability to translate human stories into visual form. These aren't things you can prompt into existence. Are we watching illustration evolve or just watching it separate into two markets? [Read the original article →](https://www.creativeboom.com/insight/is-illustration-dead-creatives-weigh-in-on-ai-and-the-future-of-commercial-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-65) --- *DESIGN* --- ![Design in the Age of AI: How Small Businesses Are Building Big Brands Faster](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_26370447-80b7-42f3-9d5b-06a0aa6be50c.jpg) ## Design in the Age of AI: How Small Businesses Are Building Big Brands Faster AI design tools are handing small businesses something they've never had before: the ability to create professional brand identities without waiting for funding or hiring agencies. VentureBeat reports search interest has exploded since 2022—up 700% for AI business name generators, 1,200% for logo tools, and a staggering 1,600% for website builders. Platforms like Design.com now bundle naming, logo creation, and web development into one workflow that turns rough sketches into polished brand systems in minutes. I love the five frontiers concept they outline—naming, logos, websites, business cards, presentations. But here's what matters more: a good idea is still the foundation of everything. AI makes it easier to avoid bad brand design when you have a strong concept, but it won't manufacture the concept for you. > What we're really seeing is the removal of execution barriers, not the generation of vision itself. You still need something worth building a brand around. Can democratized design tools actually level the playing field, or do they just raise the baseline while leaving the gap between mediocre and exceptional ideas exactly where it was? [Read the original article →](https://venturebeat.com/ai/design-in-the-age-of-ai-how-small-businesses-are-building-big-brands-faster?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-65) --- *INTERACTIVE ART* --- ![Billionaire Heads on Robot Dogs Pooping Photos Go Viral at Major Miami Art Fair](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_734394cf-04c4-43c7-853b-64861d0bfc01.jpg) ## Billionaire Heads on Robot Dogs Pooping Photos Go Viral at Major Miami Art Fair Robot dogs with hyper-realistic heads of Jeff Bezos, Elon Musk, Mark Zuckerberg, Andy Warhol, and Pablo Picasso are wandering around Art Basel Miami, occasionally pausing to enter "poop mode" and dispense photographs. Beeple's "Regular Animals" installation has gone predictably viral, with each $100,000 robot selling out at the fair's new Zero 10 exhibition space dedicated to digital-era art, Fox Business reports. I went to Art Basel a few years back—it was the year that duct-taped banana sold for millions. Beeple's already proven he can command insane prices, having sold an NFT for $69 million back in 2021\. So naturally I'm wondering: how much will these robot dogs eventually fetch on the secondary market? > The robots are programmed to cease functioning after three years, spending their operational life capturing images and storing them on the blockchain. It's a built-in obsolescence that feels both dystopian and oddly fitting for art about tech billionaires who control how we see the world. When the installation that comments on algorithmic gatekeepers itself becomes a seven-figure blockchain artifact, are we witnessing critique or participation? [Read the original article →](https://www.foxbusiness.com/media/billionaire-heads-robot-dogs-pooping-photos-go-viral-major-miami-art-fair?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-65) --- *SUSTAINABILITY IN ART AND TECH* --- ![Patricia Urquiola Unveils 'Among-All' at Heimtextil 2026: a Fusion of AI, Materials, and Sustainable Design](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d198d7f7-48e5-4730-b5cc-191ac0836f1a.jpg) ## Patricia Urquiola Unveils 'Among-All' at Heimtextil 2026: a Fusion of AI, Materials, and Sustainable Design Patricia Urquiola's *among-all* installation at Heimtextil 2026 turns textile design into an interactive experience where AI meets sustainability. As reported by SA Decor & Design, the installation uses motion sensors and machine learning to transform visitor movements into responsive visual forms on a massive LED wall, while showcasing materials like ECONYL® recycled nylon, Ohoskin (a leather alternative made from orange by-products), and carpets woven from production remnants. This is exactly the kind of work I'd travel to Frankfurt to see. What excites me isn't just the sustainability angle—though that matters enormously—but how AI and machine learning can push textile innovation forward. We're talking about opportunities beyond art installations, into everyday wearable fabrics that could fundamentally change how we interact with clothing. > I bought waffle towels for the first time this year, and they blew me away. These aren't fancy smart textiles—just cotton thread woven into a three-dimensional waffle pattern. But they work beautifully because they rely on machinery and design processes that simply didn't exist for weavers decades ago. That's the kind of practical innovation I want to see more of. Imagine what becomes possible when we combine 3D printing with organic materials—could we be wearing computationally designed fabrics that adapt to our bodies in ways traditional weaving never could? [Read the original article →](https://www.sadecor.co.za/interior-design-blog/exhibitions/international-events/patricia-urquiola-unveils-among-all-at-heimtextil-2026-a-fusion-of-ai-materials-and-sustainable-design/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-65) --- *ART AND POLITICS* --- ![The Defining Artworks of 2025](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_999dc221-a53c-473b-880c-2c27c3810ab3.jpg) ## The Defining Artworks of 2025 ARTnews assembled its list of 2025's most defining artworks—25 pieces ranging from Barbara Kruger's protest backdrop to Kara Walker's dismembered Confederate monument to Cameron Rowland's censored Martinican flag. The editors make a clear case: in an era of rising censorship and declining democracy, virtually every artwork becomes political by default, whether it explicitly protests or simply explores new possibilities for abstraction. But I find myself questioning that premise. Is it really impossible to create meaningful art in 2025 without engaging the political realm? The article certainly seems to suggest that political engagement has become the primary measure of significance. I'm torn here—while I understand the urgency of our current moment, I worry that defining "meaningful" solely through a political lens diminishes other vital aspects of artistic practice. > There's something worth considering about whether we're conflating "political" with "meaningful" because our cultural anxiety makes everything feel charged, or whether art's political dimension has genuinely become inescapable in this particular moment of history. Maybe the real question isn't whether art must be political to matter, but whether we've become unable to see it any other way. [Read the original article →](https://www.artnews.com/list/art-news/news/most-important-artworks-1234762369/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-65) --- *THE LAST WORD* --- Thanks for reading this week's roundup. I'd love to hear your thoughts—especially if you're working through similar tensions between using new tools and protecting what makes your work distinctly yours. Hit reply anytime. Best, Juergen ### The Promise-Reality Gap URL: https://theintersect.art/issues/64/ Last updated: 2026-07-14T16:34:51.000Z Hi all, This week's stories touch on a common thread that I can't stop thinking about: the persistent gap between what technology promises and what it actually delivers. The InkPoster e-ink display finally nails what a digital art frame should be—no backlight, battery-powered, genuinely paper-like—but it's still priced somewhere between $1K-$2K while HD TVs cost a few hundred dollars. Over at Zineopolis, there's a thoughtful exploration of how zines and illustration technology haven't quite democratized publishing the way early advocates hoped. And that recurring pattern of AI-generated music fooling 90% of listeners makes me wonder if we're just not trained yet to hear the difference, or if our ears simply lack the instinct our eyes have for spotting visual fakery. What stood out for me is Noah Smith's review of David Marx's "Blank Space," which argues that cultural innovation comes from novel technology—but eventually those possibilities get "mined out." The electric guitar changed music for decades, but there's only so much new ground you can break before saturation replaces genuine innovation. It's a compelling explanation for why American pop culture feels stuck recycling superhero franchises and sequels. Meanwhile, Sabrina Dowling Giudici's glass sculptures ("Murano meets Burano," as Venetians describe them) remind us that sometimes the path to creative work requires a decades-long detour through accounting and regional development—something I relate to after my own five-year stint as a New York photographer before entering the field of programming and UX design. The good news? Luke Jerram's bringing his Mirror Moon sculpture to the Royal Observatory Greenwich in March 2026, and it's exactly the kind of tactile, data-driven art that makes the cosmos feel immediate rather than distant. Sometimes the best intersection of art and technology isn't about new tools at all—it's about being able to physically touch every crater on the lunar surface of a sculpture. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *TECHNOLOGY IN MUSIC* --- ![How to Figure Out if Your New 'Favorite Artist' Is Just Software, or an Actual Artist](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_dfffea90-8977-4573-9897-a8ff731b701f.jpg) ## How to Figure Out if Your New 'Favorite Artist' Is Just Software, or an Actual Artist Discovering your new favorite artist is actually a machine feels jarring, but how do you know for sure? The BBC offers some clues for detecting AI-generated music: slurred vocals, problematic consonants and plosives, and those strange ghost harmonies that mysteriously appear and vanish. It's a start, but hardly definitive. I keep thinking about those recent studies showing 90% of people can't distinguish AI-generated music from human-made tracks. It makes me wonder if our auditory sense is just weaker when it comes to detecting the uncanny. We're pretty good at spotting something off in visual mediums—that weird smoothness, those impossible shadows—but with music, we seem to lack that same instinct. > What I really wish is that this article had extended its analysis to visual arts as well. Give us some practical guidelines for detecting AI-generated images and paintings with the same specificity they apply to music. Is our inability to detect AI music a temporary learning curve, or are our ears simply less attuned to synthetic patterns than our eyes? [Read the original article →](https://www.artsjournal.com/2025/11/how-to-figure-out-if-your-new-favorite-artist-is-just-software-or-an-actual-artist.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-64) --- *FILM & VIDEO* --- ![Political Aesthetics in New China's Ethno-Documentaries](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cd5eb9c9-c9ba-491a-a069-933fc8f44a6f.jpg) ## Political Aesthetics in New China's Ethno-Documentaries T Wu's research published in the International Journal of Anthropology and Ethnology examines how post-1949 Chinese ethno-documentaries function as sophisticated tools of political aesthetics—using cinematographic techniques, visual symbolism, and narrative framing to construct a unified national identity while celebrating ethnic diversity. These state-sponsored films aren't just cultural recordings; they're carefully orchestrated visual statements that blend picturesque landscapes and folkloric traditions with socialist ideology. The question that pops into my mind is how different is this from Americana? Perhaps the 30s and 40s construction of American national identity came more from commercial initiatives—think Coca-Cola ads, billboards, Norman Rockwell paintings depicting idyllic scenes of an entire nation (drinking Coke, of course). The Chinese approach seems more consistent and intentional in its pervasiveness. > Fast forward to today's bifurcated and divisive America, and I wonder: how do you even portray something like a national identity unless it's pitted against the other side? The visual language of unity requires shared values, shared myths—something increasingly harder to manufacture when commercial interests fragment rather than unify. What does it mean when national identity becomes impossible to visualize without an enemy? [Read the original article →](https://scienmag.com/political-aesthetics-in-new-chinas-ethno-documentaries/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-64) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Blank Space: Why US Culture Is Stagnating](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_61454913-e13a-4c21-a893-1e4dad758ab6.jpg) ## Blank Space: Why US Culture Is Stagnating American pop culture feels stuck in a loop of sequels, remakes, and superhero franchises that recycle the same formulas year after year. Noah Smith's review of David Marx's "Blank Space: A Cultural History of the Twenty-First Century" explores why creativity seems to have stagnated in film, music, and literature—even as other mediums like short-form video and webcomics flourish. Marx argues the internet has flattened subcultures into bland uniformity, while others point to risk aversion or monopolistic entertainment companies. Those who've followed me know my aversion to the Marvel Universe, and I can finally articulate why: it's the repetitive recycling of formulaic success designed to capture attention rather than foster innovation. It's risk-averse marketing engines promoting safe bets instead of nurturing something genuinely new. You have to look elsewhere—to other cultures—for that. > Smith offers a compelling technological explanation: novel cultural production comes from novel technology. When we invented the pickup mic, we got decades of electric guitar music as artists explored new possibilities. But eventually those possibilities get "mined out," progress stalls, and creativity becomes canonized. This helps explain why classical orchestras are essentially cover bands—the technology hasn't changed in centuries. Are we mining out our current technologies, or have we simply lost our appetite for creative risk? [Read the original article →](https://asiatimes.com/2025/11/blank-space-why-us-culture-is-stagnating/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-64) --- *DESIGN* --- ![Apparatus: the Role of Technology in Illustration](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_111c5baa-9720-4999-b783-9b043e9dd7dc.jpg) ## Apparatus: the Role of Technology in Illustration The relationship between illustration and technology has a long history, but it's never been straightforward. Over at Zineopolis, a blog post explores this evolution through the lens of zines—those curious non-commercial print artifacts that resist easy definition. I've always struggled getting my head around what a "zine" actually is. It seems mostly non-commercial and almost like a real-world printed infographic of sorts. Having an affinity for the art of design and the intersection with technology, this exploration of the relationship between machines and technological advancements in the design space got me interested. > What really strikes me is the conclusion around the fact that the promise of technology seems to seldom live up to what people's hopes for its applications are initially. Are we forever destined to overestimate what our tools can do for us in the short term while underestimating their long-term impact? [Read the original article →](http://zineopolis.blogspot.com/2025/11/apparatus-role-of-technology-in.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-64) ![Finally, a Digital Art Frame That's Not a TV in Disguise](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_518ce85b-6769-4772-99f6-31f6743add66.jpg) ## Finally, a Digital Art Frame That's Not a TV in Disguise InkPoster promises something different in the crowded world of digital art displays—a frame that actually looks like art on paper rather than a glowing screen. As reported by Creative Bloq, this e-ink display runs on batteries that last a full year, hangs like a regular frame, and ditches the backlight entirely for a truly paper-like appearance. I've been following these e-ink displays for a while, and they represent what digital art frames should be. I recently saw one of those Samsung TV gallery displays at a party, and while it was stunning—dimmed to match the room's lighting so it didn't glow like a screen—e-ink is the real solution. No backlight, battery-powered, genuinely frame-like. > The technology is there, but the economics aren't. You can get an HD TV for a few hundred dollars, but these e-ink art displays still hover in the $1K-$2K range. I'm curious enough to want one, but I can't justify that price-to-performance gap. How long before the display technology we want becomes the display technology we can actually afford? [Read the original article →](https://www.creativebloq.com/art/digital-art/finally-a-digital-art-frame-thats-not-a-tv-in-disguise?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-64) --- *SCULPTURE* --- ![Inspired by Space Exploration, Artist Sculpts Dreams in Glass](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_611ec752-4447-42f0-ab05-52e208175fb5.png) ## Inspired by Space Exploration, Artist Sculpts Dreams in Glass Sabrina Dowling Giudici's father warned her that Michelangelo died with ticks on his body—his way of saying artists can't make a living. So she dutifully studied accounting and worked in regional development. Decades later, after years in "sensible" jobs, she's now exhibiting her stunning cold glass sculptures at Venice Glass Week, where Venetians describe her work as "Murano meets Burano"—glasswork that captures the lacy quality of her Italian mother's sewing. Christine Layton and Emma Wynne tell her story for ABC News. This one hit close to home. My parents had the same conversation with me, but they let me pursue fine arts and photography anyway. I spent five years struggling as a photographer in New York before "selling out" to programming, design, and app development. What felt like abandoning art was really just a detour—I've been fortunate enough to return to my own work after nearly twenty years in the corporate world. > My German artist uncle was the one who really got me started, gifting me mechanical pencils and expensive paper, encouraging me at every visit. I now have about a dozen of his paintings hanging in my home—tangible reminders of why I started this journey in the first place. How many artists make this same calculation early on, only to find their way back later when circumstances finally allow it? [Read the original article →](https://www.abc.net.au/news/2025-12-01/sabrina-dowling-giudici-cold-glass-artist-venice/106052038?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-64) --- *ART & SCIENCE* --- ![The Spacescape: Looking at Heritage Spacecraft as Part of a Cultural Landscape](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_3319a277-7d19-4f10-a02b-1098c128fbd3.jpg) ## The Spacescape: Looking at Heritage Spacecraft as Part of a Cultural Landscape Satellites orbiting Earth aren't just defunct hardware floating in the void—they're archaeological artifacts, argues Dr. Alice Gorman in this fascinating piece from her Space Age Archaeology blog. She makes the case that orbital space itself is a cultural landscape, similar to how we now understand Earth's "wilderness" areas as actually inhabited Indigenous homelands shaped by human presence over millennia. What really struck me is how this reframes our relationship with space. We tend to think of the cosmos as empty, pristine, waiting for us to arrive. But space archaeology reveals something different: we're already there, leaving traces, creating meaning. Just as archaeology on Earth had to abandon the myth of untouched wilderness and recognize the continuous presence of Indigenous peoples, we need to see orbital space as already marked by human culture. > The cultural significance of heritage spacecraft like Vanguard 1 or Syncom 3 isn't just in their physical form—it's inseparable from their location. Bring them back to Earth for a museum, and their meaning fundamentally changes. They stop being part of the living spacescape and become souvenirs of a place we're no longer connected to. If orbital debris is now as much part of the space environment as meteoroid swarms, what does that mean for how we think about preservation versus expansion? [Read the original article →](http://zoharesque.blogspot.com/2025/11/the-spacescape-looking-at-heritage.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-64) ![Luke Jerram Is Bringing a New Celestial Artwork to London](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cffd7314-ba7e-49f2-bcd6-c06519c3a9b7.jpg) ## Luke Jerram Is Bringing a New Celestial Artwork to London Luke Jerram's celestial art installations have become a phenomenon, bringing our solar system's most iconic bodies—the Moon, Mars, and Sun—into intimate proximity with audiences worldwide. Now he's returning to London with something different: *Mirror Moon*, a two-meter-wide stainless steel sculpture that invites you to actually touch the lunar surface. Using topographic data from NASA, according to *London On The Inside*, the installation features every crater, valley, and mountain range textured into its surface, including the mysterious far side we never see from Earth. I love it when art and science blend this seamlessly. The Royal Observatory Greenwich feels like exactly the right home for this piece—I was fortunate to visit last year, and while the turn-of-the-century artifacts centering on clockworks and navigational tools are fascinating, they represent a very specific moment in our relationship with the cosmos. > *Mirror Moon* arriving in March 2026 offers something those historical instruments can't: a tactile, immediate connection to something we've gazed at for millennia but only recently understood. Can a sculpture make us reconsider what it means to truly know something—to move beyond observation into physical understanding? [Read the original article →](https://londontheinside.com/luke-jerram-is-bringing-a-new-celestial-artwork-to-london/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-64) --- *THE LAST WORD* --- Thanks for sticking with me through this exploration of some gaps between art and tech innovations, and their deliverables. I'm curious what you think—are we mining out our current technologies, or have we simply lost our appetite for creative risk? Hit reply and let me know what resonates with you this week. Best, Juergen ### Who Controls the Frame? URL: https://theintersect.art/issues/63/ Last updated: 2026-07-14T16:34:48.000Z Hi all, This week's stories all circle around the same question: who controls the frame? From John Whitney repurposing WWII anti-aircraft hardware to create the spirographs in Vertigo's opening credits—military targeting systems turned into tools for beauty—to Gretchen Andrew's Universal Beauty series revealing how even Miss Universe contestants can't meet algorithmic beauty standards, we're looking at how technology determines what gets seen and who gets to be visible. Ganbrood's Second Gaze confronts Steve McCurry's iconic Afghan Girl photograph, asking who owns an image once it becomes a symbol. These aren't abstract questions—they're about power, representation, and whose version of reality becomes the official record. The thread runs through every story here: activists staging ICE raids inside GTA and Fortnite to teach immigrant rights (reclaiming game worlds from government recruitment propaganda), Jess Bush curating space art for ABC while I'm thinking about our own First Friday exhibitions at NotRealArt.com, even Ringling's new Creative Technologies program teaching students to "make it, ship it" right here in Sarasota. Brian Niemeier's uncomfortable argument that culture flows downstream from power—not the other way around—hits differently when you see how consistently these stories reveal artists and educators actively trying to redirect that flow. Whether it's a game world, a view of the cosmos, a curriculum, or an algorithm deciding which faces are worth seeing, the question remains: who actually controls the frame through which we see ourselves and each other? Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *FILM & VIDEO* --- ![Computer Animation Before 'Toy Story': the Wild, Brilliant Experiments That Built CGI Animation](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f9565f96-aa18-4ea0-8df1-21fefb75156c.jpg) ## Computer Animation Before 'Toy Story': the Wild, Brilliant Experiments That Built CGI Animation *Toy Story* celebrates 30 years this weekend, and Cartoon Brew takes us on a deep dive through the groundbreaking experiments that made CGI animation possible. From John Whitney's repurposed WWII anti-aircraft gun director creating the spirographs in *Vertigo*'s opening credits to John Lasseter getting fired from Disney for proposing what would eventually make Pixar billions, this comprehensive look at early computer animation reveals just how many brilliant, obsessive people had to push against technological limits and institutional skepticism. I was genuinely surprised to learn that CGI animation traces back to Alfred Hitchcock's *Vertigo* in 1958\. Whitney fashioned an analog computer out of military hardware to create "mathematically controlled movements" he called "incremental drift." The connection between targeting weaponry and creating art feels almost too poetic—repurposing tools of destruction to make something beautiful. > What fascinates me most is how *Toy Story* endures not because of its technical achievements, but despite them. The texturing looks dated, the human characters feel robotic, yet the film works because Pixar understood something crucial: technology serves story, not the other way around. Does our current AI moment in art need the same lesson—that the tool matters far less than what you're trying to say? [Read the original article →](https://www.cartoonbrew.com/cgi/computer-animation-before-toy-story-256944.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-63) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![The Algorithm Thinks You're Ugly: an Interview with Artist Gretchen Andrew](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e8189557-4a70-4113-be4e-9091cabe58ad.jpg) ## The Algorithm Thinks You're Ugly: an Interview with Artist Gretchen Andrew Artist Gretchen Andrew's *Universal Beauty* series—recently acquired by the Whitney—reveals something unsettling: even Miss Universe contestants from around the world can't meet algorithmic beauty standards. In an interview with Observer, Andrew examines how AI-driven filters are flattening humanity into a single homogenized look, from Jamaica to Finland to the Philippines. What makes this particularly fascinating is Andrew's background. She's an ex-Googler who dropped out of Silicon Valley after becoming disillusioned with technology designed to exploit users. Now she can explain the duck lip meme and beauty algorithms from the inside, breaking down how we're all contorting ourselves—physically and digitally—to look good on two-dimensional screens. > Andrew compares our current moment to ancient Egyptian art, where bodies were represented from their most recognizable angles and stuck together. That's exactly what's happening with cameras and algorithms today: we're attempting to convey three dimensions in 2D space, prioritizing how we look on screens over how we actually feel in our bodies. Andrew admits she's addicted to Instagram too, calling social media "the tobacco of our generation"—and awareness alone won't save us, even when we know we're totally fucked. [Read the original article →](https://observer.com/2025/11/interview-with-artist-gretchen-andrew-instagram-face/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-63) --- *AI IN VISUAL ARTS* --- ![How AI Alters Art History](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f54968f7-2e1b-4d66-9b30-28b64f2b3605.jpg) ## How AI Alters Art History When AI artist Ganbrood's reinterpretation of Steve McCurry's iconic "Afghan Girl" photograph went on display at Paris Photo, the two artists unexpectedly met face-to-face at Heft Gallery. McCurry seemed shocked, perhaps appalled. Ganbrood's piece, *The Second Gaze*, turns the famous portrait's direct gaze into a three-quarter profile, transforming what was a symbol of Afghan displacement into something else entirely. Writing for Right Click Save, Ganbrood reflects on their encounter and what it means for authorship in the age of generative AI. This strikes me as a fascinating counter-point to something Cory Doctorow describes as "eeriness"—that unsettling quality of seeming intentionality without an actual "intendor" behind it. That's why so much AI-generated art feels uncanny or empty of meaning. But this encounter was different. Here we had two artists, both working with strong intent, both grappling with how images become symbols and what that transformation costs. > Ganbrood isn't appropriating carelessly—he's investigating how photographs claim truth while concealing as much as they reveal, and how generative AI inherits and amplifies the biases lurking in vast image datasets. What happens when the copy confronts the original, and both carry purpose? [Read the original article →](https://www.rightclicksave.com/article/how-ai-alters-art-history-ganbrood-steve-mccurry-afghan-girl-paris-photo?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-63) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![Not Really a Manifesto, I Guess, but Perhaps a Framework for Thinking About AI and Art…](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_c266845c-b082-4d50-8042-09d6b08b0271.png) ## Not Really a Manifesto, I Guess, but Perhaps a Framework for Thinking About AI and Art… When your Gmail offers to organize your inbox and Word promises to draft documents for you, it's easy to dismiss AI as just another productivity feature. But Douglas McLennan's research for US Regional Arts Organizations reveals something more fundamental: AI isn't arriving as a new toolset artists can choose to adopt—it's structural change that reshapes the creative field whether you participate or not. What strikes me is what McLennan calls the velocity problem. The technology moves faster than language itself, faster than democratic deliberation. Discussions about ownership and attribution get "quickly superseded by conceptual shifts" before artists can mount coherent responses. Meanwhile, artists—the people most directly affected—are absent from policy conversations because running a creative practice already takes everything you have. Now you're expected to become a policy expert on opaque systems while watching your work get absorbed into training data without consent. > We already ran this experiment with the digital revolution. Artists weren't centered in platform design, and the result was two decades of devalued creative work and concentrated power in companies treating culture as content. The difference now is scale and speed: 94% of creatives now use AI tools while simultaneously fearing their dulling effects on originality—a contradiction revealing how quickly "choice" becomes "necessity." Power gets consolidated not through dramatic takeovers, but through exhaustion, complexity, and relentless innovation that outpaces the possibility of informed consent—which might be the point. [Read the original article →](https://www.artsjournal.com/diacritical/2025/11/not-really-a-manifesto-i-guess-but-perhaps-a-framework-for-thinking-about-ai-and-art.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-63) --- *GAMING* --- ![Activists Turn ICE Raids into GTA and Fortnite Lessons: Using Gaming Culture to Protect Immigrants](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9c07abb7-dfdd-4f5e-8d83-ecd40dd9e99b.jpg) ## Activists Turn ICE Raids into GTA and Fortnite Lessons: Using Gaming Culture to Protect Immigrants The New Save Collective is staging ICE raids inside *Grand Theft Auto V* and running rights-awareness scavenger hunts in *Fortnite*—turning gaming worlds into immigrant education platforms. As reported in the International Business Times, these activist events teach players about their rights during immigration encounters while countering government agencies' own recruitment-style gaming content, including a Department of Homeland Security post that mimicked *Halo*'s "finish the fight" slogan and another borrowing Pokémon's "gotta catch 'em all." I honestly didn't see this coming. Video games as an anti-ICE education channel and community builder? The platform makes sense when you think about it—reach people where they already gather, in environments they trust. What strikes me most is the potential here: if this approach can cut through to gaming communities, particularly the Manosphere crowd, we might be witnessing a genuinely new form of civic engagement. > Organizers like PitaBreadFace and Anosh Polticoal (working under pseudonyms for safety) argue that conservative networks have exploited gaming spaces for years—Gamergate being the obvious example. Their counter-strategy uses the same immersive environments to foster inclusion rather than division. Can gaming culture shift from being a recruitment ground for extremism to a space for defending everyone's rights? [Read the original article →](https://www.ibtimes.co.uk/activists-turn-ice-raids-gta-fortnite-lessons-using-gaming-culture-protect-immigrants-1757211?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-63) --- *ART & SCIENCE* --- ![Jess Bush Leads Bold Investigation in THE ART OF SPACE](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8c0995e9-94e3-43c5-a380-a6aef4b86ee0.jpg) ## Jess Bush Leads Bold Investigation in THE ART OF SPACE Jess Bush—actress from *Star Trek: Strange New Worlds* and environmental artist—guides viewers through a cosmic question in tonight's episode of ABC's *The Art of...* series: Can humans explore space responsibly? Kevin Perry at TV Blackbox reports that Bush meets everyone from former NASA strategist Mike Gold to Afrofuturist Serwah Attafuah and astrophysicist Dr Kirsten Banks, who shares First Nations star knowledge alongside art historian Mary McGillivray. This story resonates with me because it's essentially about curating artworks inspired by outer space—which is exactly what we do through our First Friday exhibition series at NotRealArt.com. At the non-profit I work for, we sponsor artists through grants and have built an immense database of submissions over the years. We not only support them financially but also act as curators, creating virtual exhibitions from thousands of works we've seen. > Watching someone else curate space-themed art makes me think we should create our own First Friday series dedicated to cosmic inspiration. We have the artists, we have the platform—why not explore the universe through their eyes? What stories are hiding in your archive, waiting for the right thematic lens to bring them together? [Read the original article →](https://tvblackbox.com.au/page/2025/11/25/jess-bush-leads-bold-investigation-in-the-art-of-space/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-63) --- *ART AND POLITICS* --- ![Culture Is Downstream from Power: Why Politics No Longer Shapes Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_788644f0-8bc5-445f-a774-50e1030f7789.jpg) ## Culture Is Downstream from Power: Why Politics No Longer Shapes Art Brian Niemeier makes an uncomfortable argument in his latest piece: the rallying cry "politics is downstream from culture" has it backwards. Throughout history, he argues, art has been commissioned, controlled, and shaped by whoever holds power—from Egyptian pharaohs funding temples to the Medici family sponsoring Renaissance masters. Even today, with Pentagon script reviews and CIA involvement in Hollywood productions, the pattern persists. It's sad. But I agree: culture is a top-down phenomenon, historically speaking. We've been sold this myth that liberal democracy democratized culture, but that's a misreading. The real question isn't whether the powerful shape what gets made—they always have. It's whether we can build sustainable alternatives outside that system. > Niemeier points to a Princeton-Northwestern study showing zero correlation between what average Americans want and what Congress does. If political representation is largely illusory, then waiting for cultural change to drive political change is waiting for something that can't happen. The hopeful note: independent creators now have distribution tools that didn't exist a generation ago, which might—just might—disrupt these ancient power dynamics. [Read the original article →](https://bleedingfool.com/blogs/culture-is-downstream-from-power-why-politics-no-longer-shapes-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-63) --- *TECH IN ART EDUCATION* --- ![Ringling College of Art and Design Introduces New Creative Technologies Bachelor's Degree](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d04c97fe-3af6-49d9-84f4-c47bf81c4b0d.jpg) ## Ringling College of Art and Design Introduces New Creative Technologies Bachelor's Degree Ringling College of Art and Design is launching a Creative Technologies bachelor's degree starting fall 2026—and it's exactly what the program name suggests: a formal institutionalization of art-tech convergence. As reported by ArtDaily, students will prototype and ship real apps, games, videos, and installations to actual audiences through a "make it, ship it" model. The program weaves together creative coding, entrepreneurship, and cross-departmental collaboration, positioning graduates with both a professional portfolio of launched work and the adaptive mindset to navigate our ever-changing media world. This hits close to home for me—literally, since this is happening right here in Sarasota. When I graduated from art school with a degree in photographic design back in the late '80s, I walked into NYC photography studios feeling like an impostor because I didn't know the latest equipment like strobe flash systems. But here's what I discovered: my foundational training in light, composition, and art history proved far more valuable than any specific technical skill. Equipment comes and goes. Technologies evolve and become obsolete. The fundamentals endure. > I appreciate this applied arts approach to building practical career skills, but I wonder if students will also receive that deeper grounding in timeless principles—the kind that carries you through decades of technological change and lets you adapt to tools that don't even exist yet. Will these graduates launch products, or will they launch careers that outlast the platforms they're building for today? [Read the original article →](https://www.artdaily.cc/index.asp?int%5Fsec=11&int%5Fnew=187523&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-63) --- *THE LAST WORD* --- I'm genuinely curious what you think about this pattern—are we witnessing a shift in who gets to define visibility, or are these just individual acts of resistance against systems too big to change? Either way, these stories feel urgent to me right now. Thanks for reading, and if any of this resonates or troubles you, I'd love to hear your thoughts. Best, Juergen ### The New Monopolies: How Streaming Became What It Promised to Destroy URL: https://theintersect.art/issues/62/ Last updated: 2026-07-14T16:34:46.000Z Hi all, This week landed heavy on music stories, and I'm not apologizing for it. A Deezer survey revealed that 97 percent of listeners can't distinguish AI-generated songs from human-created music—which has me wondering whether our ears have simply adapted to decades of synthesizers and sampling, or if certain genres make us more vulnerable to synthetic replication. Then there's Rob Arcand's sharp essay on how streaming platforms promised to disrupt the old record label monopolies but ended up recreating the same consolidated power structure, just with different names at the top. Sometimes history doesn't repeat—it just changes costumes. Beyond the music industry, I found myself drawn to Jean Mackay's lunar halo watercolor—a reminder that some experiences resist capture by even the best camera technology, requiring the human hand to hold what the lens cannot. There's also a look at how Chinese grass-roots culture is quietly winning global audiences through web novels and video games, not through state-sponsored soft power campaigns but through genuine creativity. And because it's Thanksgiving week, I couldn't resist including the history of the Macy's parade, complete with the discovery that actual zoo animals once walked the entire six-mile route before helium balloons took over in 1927. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *ART NARRATIVES* --- ![Inspired by the Moon](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_dcccec65-13f6-4383-ba26-572e48a1bfb8.jpg) ## Inspired by the Moon Artist Jean Mackay noticed a lunar halo one winter night—that bright ring around the moon caused by ice crystals in high cirrus clouds. The 17th-century poet Matsuo Basho captured the phenomenon in just 15 words, while modern science explains it through refraction angles and atmospheric conditions. But when Mackay set out to document what she saw in her watercolor journal, she confronted something both poets and scientists skip over: some experiences resist capture, no matter how precisely you understand them. What I love about this story is that some things cannot be photographed even with the best camera. Sometimes it takes a sketch-pad. Even with today's computational photography and HDR processing, a camera would flatten that halo into overexposed glare or crush it into darkness. The human hand, moving across paper, can hold what the lens cannot. > Mackay spent a week figuring out her approach, eventually working with just Indanthrone blue and yellow ochre in her Handbook Journal. She admits the result isn't as ethereal as she'd hoped, but it's there—a record of that night that exists because she drew it, not despite the drawing's imperfection, but because of the act itself. What else are we trying to capture with cameras when we should be reaching for a pencil? [Read the original article →](https://jeanmackayart.com/2025/11/16/inspired-by-the-moon/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-62) --- *TECHNOLOGY IN MUSIC* --- ![Survey Finds 97 Percent of People Cant Tell if a Song Is Made by AI or Humans](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3a268afc-0df1-4dd8-98c9-313b7ec51403.jpg) ## Survey Finds 97 Percent of People Cant Tell if a Song Is Made by AI or Humans A fascinating survey from Deezer and Ipsos reveals that 97 percent of listeners can't distinguish AI-generated music from human-created songs—and 52 percent feel uncomfortable about their inability to spot the difference. The Mashable piece notes that while AI music technology has advanced, much popular music follows formulaic patterns that make it easier for AI to convincingly replicate, at least instrumentally. Meanwhile, 80 percent of respondents want AI music clearly labeled, and 70 percent believe AI threatens artists' livelihoods. As a musician myself, I'm genuinely curious about where this inability to distinguish originates. Have we gradually become accustomed to sampling and synthesizer technologies to the point where our ears can no longer detect synthetic creation? Or is this specific to certain genres—would we be equally fooled by an AI-generated classical string quartet? > I often write about the "uncanny valley" here at The Intersect—our ability to detect visual AI works that feel slightly off. So I'm wondering whether auditory stimuli just operate differently for us than visual stimuli, making AI-generated music harder to identify than AI-generated images. What does it mean for the future of music if our ears can't reliably tell the difference anymore? [Read the original article →](https://mashable.com/article/ai-generated-music-survey-people-cannot-tell?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-62) ![The Corporatization of Our Music](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_63424cb1-2ead-4eb7-9d90-8530d7c5ab30.png) ## The Corporatization of Our Music Rob Arcand's essay in n+1 reviews two books that examine how streaming platforms and Wall Street have fundamentally reshaped the culture industries. Three record companies now control 80 percent of all labeled music, while Spotify, Apple Music, and Amazon Music dominate 90 percent of streaming subscriptions—a consolidation that mirrors the very monopolies streaming once promised to disrupt. The history of streaming tells a familiar story. Once a domain of renegades and upstarts, fighting the Big Record Labels and vying for exposure on Big Radio conglomerates, history seems to repeat itself. Streaming has consolidated around its own Big Three, and the promised democratization of access to music markets has resulted in the same outcome: musicians earn fractions of pennies on the dollar compared to the platforms themselves. > What strikes me most is how quickly a 125-year-old industry moved to accommodate a relative upstart like Spotify—and how cultural products have become financialized assets whose owners are even further removed from artmaking itself. Does the platform era offer any genuine alternative to the oligopolies it claimed to replace, or have we simply traded one set of gatekeepers for another? [Read the original article →](https://www.nplusonemag.com/online-only/online-only/the-same-stream-twice/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-62) --- *PUBLIC ART* --- ![How Thanksgiving Took Flight](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_5f8769e5-fe19-45d2-bd0d-b5c0fd41f995.png) ## How Thanksgiving Took Flight The Macy's Thanksgiving Day Parade started as a celebration of retail expansion in the 1920s, complete with live elephants and bears from the Central Park Zoo trudging six miles through Manhattan streets. By 1927, as Ellie Hoffman details for Accidentally Wes Anderson, helium balloons replaced the animals—and those early inflatables soared to heights that would never pass today's safety standards. Those who know me realize my own work often draws from the Accidentally Wes Anderson aesthetic. What makes this parade history funny to me is discovering that actual zoo animals once walked the entire route. I never knew that. > Looking at archival photos of Snoopy towering what seems like hundreds of feet over the crowds—that's something you don't see anymore with balloons kept so much closer to the ground. I'm not sure these qualify as proper artworks, but I'd file this under "public art," especially for this Thanksgiving week. Can a $13 million commercial spectacle handled by 180 volunteers per balloon still count as participatory art? [Read the original article →](https://accidentallywesanderson.com/how-thanksgiving-took-flight/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-62) ![Santa Ana Unveils Sister Cities' Mural in Partnership with Sahuayo, Mexico](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_33f748b9-6393-43e7-b107-16af02ced327.jpg) ## Santa Ana Unveils Sister Cities' Mural in Partnership with Sahuayo, Mexico Sometimes the most powerful technology is just paint on a wall. Santa Ana and Sahuayo, Mexico just unveiled a striking mural at Plaza Calle Cuatro that captures something modern video calls and digital communication never quite achieve—a tangible expression of cultural connection. Art Pedroza at New Santa Ana reports that four artists (two from each city) created "Sister Cities," depicting two young girls lying face to face, each surrounded by objects representing their respective homes. What strikes me about these continued city-partnerships is how they evolve beyond diplomatic handshakes. I love that U.S. sister cities reach across borders into other countries, and that murals and public art can serve as lasting expressions of these connections regardless of distance. > Public art does something that agreements and ceremonies can't—it lives in the community, weathering alongside the people it represents, becoming part of the daily landscape rather than a file in a municipal archive. Can art create bridges more lasting than the bureaucratic partnerships they celebrate? [Read the original article →](https://newsantaana.com/santa-ana-unveils-sister-cities-mural-in-partnership-with-sahuayo-mexico/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-62) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Why Chinese Grass-Roots Culture May Be Finally Taking Its Place in the Global Limelight](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_fd50fdb3-fcf1-4b17-8317-23aee6110262.png) ## Why Chinese Grass-Roots Culture May Be Finally Taking Its Place in the Global Limelight A US Midwest military veteran who's never been to China spends her evenings lost in Chinese fantasy novels, learns the guqin via social media, and describes it all as a "natural progression." The South China Morning Post reports on how China's grass-roots cultural creations—from online literature to video games like *Black Myth: Wukong*—are quietly winning hearts globally, with over 200 million active readers now consuming Chinese web novels. I thought back to years ago, watching Fareed Zakaria and Thomas Friedman discuss US "soft power"—the idea that we'd lead through cultural exports, foreign aid, and supporting democracies. We've since ceded that ground. What we're seeing now isn't state-sponsored propaganda but something more organic and arguably more effective. > Jessica Imbach at the University of Freiburg nails it: "The overseas success of certain novels and video games is in large part due to the growth of a sophisticated, globally competitive cultural industry: more investment, better technology and higher production values." This isn't about official diplomacy—it's about genuine creativity finding global audiences. When grass-roots culture does the work that billion-dollar soft power campaigns can't, what does that tell us about authenticity versus manufactured influence? [Read the original article →](https://www.yahoo.com/news/articles/why-chinese-grass-roots-culture-093000372.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-62) ![Don't Blame Me: How the Art Market Battles Forgeries](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c85b485e-960e-476e-ab4d-e15619dc5eb8.jpg) ## Don't Blame Me: How the Art Market Battles Forgeries When Taylor Swift's 77-year-old former neighbor pleads guilty to selling fake Picassos and Basquiats, the story sounds like tabloid fodder. But Shaila Gray's piece for the Center for Art Law turns that headline into something far more interesting—a detailed look at the federal statutes, criminal charges, and emerging technologies that define authenticity battles in today's art market. What caught my attention is how law, science, and technology now converge to tackle forgeries. The legal framework is surprisingly intricate: wire fraud, mail fraud, false statements to federal agents—each charge carries real weight. Then there's the evolving toolkit: DNA analysis that extracts biological traces from artworks, AI systems trained on both authentic pieces and high-quality fakes (creating a sort of arms race), and blockchain-based identification standards like ArtID that aim to give every artwork a verifiable passport. > The irony isn't lost on me that the same AI technology raising concerns about creative displacement might actually help protect artists' legacies from forgery. Detection algorithms now learn from robot-generated fakes, sharpening their ability to spot the real thing—a strange feedback loop where technology battles itself. The toughest challenge isn't inventing these tools—it's convincing the entire market to actually use them. [Read the original article →](https://itsartlaw.org/art-law/fakes-how-the-art-market-battles-forgeries/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-62) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![Syncone Pleasure Device Redefines Tactile Interaction Through Intelligent AI-Driven Design](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_a984a20b-575f-4b82-9efe-11b165374191.png) ## Syncone Pleasure Device Redefines Tactile Interaction Through Intelligent AI-Driven Design Designer Lee Yi Chung's SyncOne brings AI-powered motion capture to the pleasure device market, featuring real-time mechanical control that responds to video input from PCs, mobile apps, and VR headsets. The transparent TPU device—developed by Segai Design Lab and featured on designboom—packs in UVC sterilization lights, PTC heating, and waterproof channels alongside algorithms that translate on-screen movement into physical sensation. File this one under designs that make me laugh. Apparently even sex toys need AI-enabled features now? We've reached the point where adding "powered by AI" to product descriptions has become so reflexive that nobody stops to ask whether the technology actually solves a problem or just creates marketing copy. > The iterative design process here is genuinely impressive—multiple rounds of 3D printing, metal prototyping, and material testing to perfect the mechanical transmission. But I can't help wondering if the AI component is solving for user experience or just riding the current tech hype wave. Does your intimate life really need machine learning, or have we simply run out of things to algorithmically optimize? [Read the original article →](https://www.designboom.com/readers/syncone-pleasure-device-tactile-interaction-intelligent-ai-driven-design-segai-design-lab-lee-yi-chung-11-17-2025/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-62) --- *THE LAST WORD* --- Thanks for sticking with me through the music focus this week. I'm genuinely curious whether your own ears can detect AI-generated songs, or if you've found yourself fooled by synthetic music lately. If any of these stories sparked a thought or question, I'd love to hear from you. Best, Juergen ### The Zoom Problem: What Smartphones Still Can't Do URL: https://theintersect.art/issues/61/ Last updated: 2026-07-14T16:51:29.000Z Hi all, This week's newsletter is admittedly all over the map—no grand unified theory holding it together, just a collection of stories that caught my attention as I was reading through the week's news. SoundCloud just announced they're letting artists keep 100% of their distribution royalties, which sounds generous until you wonder if it's desperation from a platform losing relevance. An artist named Elias Marrow pulled off a reverse art heist by sneaking an AI-generated print onto the walls of the National Museum Cardiff, where hundreds of visitors passed it before anyone noticed. And we're apparently living in an era where smartphone cameras have gotten so wide that a Chinese brand is making news by bringing them back to a more natural focal length. There's also a fascinating piece about pixel art's refusal to fade away despite our obsession with photorealism, the Korean collective d'strict creating immersive installations that actually prioritize human connection over spectacle, and the wild story of how Andy Warhol and Robert Rauschenberg might have secretly sent art to the Moon on Apollo 12\. The Met launched new VR experiences that I want to like but can't imagine actually using at home, and there's a sharp analysis of how Bad Bunny's Super Bowl performance became a culture war battlefield before he even took the stage. Like I said—scattered, but hopefully interesting. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *TECHNOLOGY IN MUSIC* --- ![Soundcloud Allowing Artists to Keep All of Their Distribution Royalties in Groundbreaking Decision](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_4621590f-8599-4e08-b2d3-555d7be9c401.jpg) ## Soundcloud Allowing Artists to Keep All of Their Distribution Royalties in Groundbreaking Decision SoundCloud just announced something that sounds almost too good to be true: artists with paid subscriptions can now keep 100% of their distribution royalties—not just from SoundCloud itself, but from Spotify, Apple Music, and YouTube Music too. Vice reports that the platform is also adding a direct donation button where fans can support creators without SoundCloud taking any cut. On paper, this looks like a genuine win for musicians who've been squeezed by streaming's fraction-of-a-penny economics. But I can't help feeling cynical about the timing. SoundCloud was once at the leading edge of music streaming, especially in the early podcasting days. Since then, Spotify has swallowed the entire marketplace, leaving real competition scarce. So I find myself wondering: is this move about fairness, or is it a desperate reach for relevance by a platform that's been fading into the background? > The question isn't whether artists deserve to keep their royalties—of course they do. It's whether this generous offer signals genuine commitment or the last gasps of a service trying to differentiate itself in a market it can no longer dominate. Will other platforms follow suit, or is this just a clever strategy by an underdog with nothing left to lose? [Read the original article →](https://www.vice.com/en/article/soundcloud-allowing-artists-to-keep-all-of-their-distribution-royalties-in-groundbreaking-decision/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-61) --- *AI IN VISUAL ARTS* --- ![Art Troll Sneaks AI-Generated Print onto Museum Wall — Where it Hung Unnoticed by Hundreds of Viewers](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_ec02706d-6053-43ae-8516-f7693831aa14.jpg) ## Art Troll Sneaks AI-Generated Print onto Museum Wall — Where it Hung Unnoticed by Hundreds of Viewers Artist Elias Marrow pulled off what the New York Post calls a perfect "AI-mitation" last month—sneaking an AI-generated print onto the walls of the National Museum Cardiff, where it hung for several hours while a few hundred visitors passed by. The work, titled "Empty Plate" and complete with an official-looking plaque, depicted a boy in school uniform rendered in the style of a historical oil painting. Sharp-eyed visitors eventually caught on and alerted staff to the unauthorized addition. What I find hilarious about this sort of guerrilla art tactic is that it's the reverse of an art heist. Instead of stealing artwork, Marrow is subversively "donating" his own work—forcing institutions to engage with questions about what deserves wall space. > Marrow claims his work is "about participation without permission," which raises an interesting question: if hundreds of people engaged with the piece before anyone realized it wasn't sanctioned, does that validate it as museum-worthy? Or does it just prove we're all terrible at spotting AI-generated imagery? This isn't his first unsanctioned installation—he's previously placed works at Tate Modern and the Bristol Museum—so the pattern seems clear. [Read the original article →](https://nypost.com/2025/11/11/lifestyle/ai-generated-print-snuck-onto-museum-wall/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-61) --- *PHOTOGRAPHY* --- ![Have Smartphone Cameras Gotten Too Wide?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e9f5b56f-641a-445b-8511-c3624f06cfc2.jpg) ## Have Smartphone Cameras Gotten Too Wide? Most of us haven't consciously noticed it, but smartphone cameras have been steadily getting wider over the years—from the classic 35mm perspective to today's standard 24mm field of view. Sam Byford, writing from Tokyo for Fast Company, explores how Chinese brand Nubia is bucking this trend with the Z80 Ultra, bringing cameras back to a more natural 35mm focal length that was standard for decades in traditional photography. I spent an entire year shooting only with my iPhone after ditching my DSLR and fancy lenses. What I discovered was exactly what this article highlights: iPhones are brilliant at wide-angle shots, but I really missed telephoto capabilities for landscapes and framing. During travel, though, hauling full camera gear became impractical. I eventually landed on a Sony point-and-shoot with fantastic zoom—truly pocket-sized but packing up to 200mm optical zoom. > Here's where I agree completely with this piece: smartphone lenses have gotten too wide, and what they haven't mastered is decent zoom levels and stabilization for everyday photography. My summer travels around Lake Champlain with that Sony were wonderful—I could go from 18mm wide to 300mm with digital zoom, all while staying light and pocketable. But honestly, if iPhone ever solves the zoom issue, I'm all in again—one less thing to carry. [Read the original article →](https://www.fastcompany.com/91437799/smartphone-cameras-too-wide-35mm?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-61) --- *DESIGN* --- ![From Minecraft to the Metaverse: the Power of Pixel Art](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_c6e3ebf8-4945-4c3a-b98a-6a628784f441.png) ## From Minecraft to the Metaverse: the Power of Pixel Art There's a curious paradox in our hyper-realistic digital age: pixel art keeps thriving. From Minecraft's blocky empire to metaverse spaces, those tiny squares refuse to fade away. A piece on TechBullion explores why this constrained medium born from hardware limitations has become an aesthetic choice that bridges nostalgia with contemporary creativity. What draws me to this is the power of self-imposed simplicity and constraints. When you work within boundaries—limited pixels, restricted colors, deliberate placement—creativity doesn't diminish, it intensifies. Every choice carries weight. It's the visual equivalent of writing haiku: you're forced to make each element count, and that discipline creates something more expressive than unlimited options ever could. > Pixel art reminds us that beauty doesn't depend on perfection or photorealism. It depends on intention. Whether you're designing for an indie game or building in a virtual world, constraints sharpen your creative voice rather than limiting it. Maybe that's why pixel art endures—it reveals the human hand behind the digital creation in an age increasingly dominated by machine-perfect imagery. [Read the original article →](https://techbullion.com/from-minecraft-to-the-metaverse-the-power-of-pixel-art-maker/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-61) --- *INTERACTIVE ART* --- ![Redefining Immersive Media Art Beyond the Screen](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_abd59a75-9d4a-4e9c-88b0-e76f08cbc924.png) ## Redefining Immersive Media Art Beyond the Screen The Korean collective d'strict isn't chasing novelty with their immersive art installations—they're exploring what happens when technology stops distracting us and starts connecting us to each other. In a detailed Observer profile, director L.J. Kim explains how projects like "reSOUND" at Rockefeller Center and their expanding "Arte Museum" network use sound, light, and tactile environments to create experiences that feel immediate and physical rather than screen-bound. I find this approach refreshing because I've enjoyed immersive exhibitions like those Van Gogh shows that traveled everywhere recently. But that format has started to feel standard, almost predictable. Being surrounded by digital water lilies is still spectacular, but I keep thinking the form itself has so much more potential than we've seen. What caught my attention here was the collaborative angle—an ex-web design agency working with museum standards to create exhibitions that travel but adapt to each city, weaving in local history and character. > What Kim describes resonates with something I've been turning over: the difference between technology as spectacle and technology as invitation. She tells Observer, "My hope is to use technology not as a distraction but as an invitation, bringing audiences back into direct relationship with their surroundings and with one another." Can immersive art move beyond the initial wow factor to become a genuine platform for shared, embodied awareness? [Read the original article →](https://observer.com/2025/11/immersive-art-dstrict-resound-rockefeller-center-exhibition-arte-museum/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-61) --- *ART & SCIENCE* --- ![The Untold Stories of Apollo 12: Lightning, Laughter, and Art](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_6be2df4e-ac0d-4905-b523-d07610ee2b7a.jpg) ## The Untold Stories of Apollo 12: Lightning, Laughter, and Art Apollo 12 might forever live in the shadow of Apollo 11's historic first steps, but this mission—launched fifty-five years ago and struck by lightning seconds after liftoff—holds stories that feel almost mythological in their blend of danger, humor, and quiet artistry. Writing for FODMAP Everyday, the article uncovers how Pete Conrad and Alan Bean turned what could have been a catastrophic launch into a mission defined by resilience and wit. What caught my attention wasn't the lightning strike everyone talks about. It was learning that Andy Warhol and Robert Rauschenberg quietly sent their art to the Moon. According to legend, the "Moon Museum"—a tiny ceramic chip etched with six miniature artworks—was secretly attached to the Lunar Module's leg before launch. If the story holds, it means the first art exhibition in space happened without press releases or fanfare. > The fact that engineers and artists collaborated to smuggle culture onto a spacecraft speaks to something we're still figuring out: technology isn't just about reaching new frontiers—it's about what we carry with us when we get there. Can exploration ever be purely scientific, or do we always pack our humanity along for the ride? [Read the original article →](https://www.fodmapeveryday.com/the-untold-stories-of-apollo-12-lightning-laughter-and-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-61) --- *VIRTUAL AND AUGMENTED REALITY IN ART* --- ![The Met Launches New Immersive Virtual Reality and Online Feature with Iconic Works from Its Collection](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_91bb8f4a-023c-4c53-843e-bb516542a9fe.png) ## The Met Launches New Immersive Virtual Reality and Online Feature with Iconic Works from Its Collection The Metropolitan Museum of Art just launched two ambitious VR experiences—*Dendur Decoded* and *Oceania: A New Horizon of Space and Time*—giving global audiences free access to explore iconic works like the Temple of Dendur and ceremonial Oceanic art through personal VR headsets or web browsers, as reported by ArtDaily. Developed with the Atopia platform, these immersive exhibitions feature high-resolution 3D scans, interactive storytelling, and soundscapes designed to let you virtually step inside these treasured spaces. I find myself really wanting to like this concept, but I'm also wondering how consuming virtual reality experiences will actually play out. I'd be much more likely to experiment with VR during an in-person museum visit—as augmented content for a day out. But at home? The storytelling angle feels more like it should be a guided documentary experience. I'm very unlikely to walk around my house with a VR headset on. > To visit a Met experience from home, I'd probably rather consume that content as an arts and culture TV show with the storytelling done for me. Maybe I'm missing something about what this could be like in a web browser, but the in-person experience of a cultural outing is difficult to imagine translating to a screen at home. Are museums building these immersive experiences for how people actually want to consume cultural content, or for how they imagine we should want to? [Read the original article →](https://www.artdaily.cc/index.asp?int%5Fsec=11&int%5Fnew=187193&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-61) --- *ART AND POLITICS* --- ![Bad Bunny Is the Latest Product of Political Rage — How Pop Culture Became the Front Line of American Politics](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_f68c87d7-387e-41ae-a389-2c5816ca868c.png) ## Bad Bunny Is the Latest Product of Political Rage — How Pop Culture Became the Front Line of American Politics When the NFL announced Bad Bunny would headline the Super Bowl halftime show, conservative influencers and politicians—including Homeland Security Secretary Kristi Noem and President Trump—ignited a firestorm before he'd even performed. According to Adam G. Klein, a Pace University researcher who studies propaganda, this reveals something crucial about how modern culture wars operate. I couldn't agree more with Klein's insight: the backlash beginning long before the event itself is a clear sign that outrage is being manufactured. We're watching political operatives reverse-engineer controversy, priming audiences to be angry about things that haven't happened yet. From Pixar's "Lightyear" to Trump's military parade to Bill Maher's dinner plans, the pattern repeats—professional partisans introduce the outrage, then watch it spread. > What struck me most in Klein's research was his interviews with local protesters from opposing sides. Both recognized they were caught in something larger than their weekly standoffs—a system converting every difference into spectacle. They saw it, resented it, and yet couldn't escape it. On Super Bowl night, there will literally be two halftime shows—one for each America. [Read the original article →](https://theconversation.com/bad-bunny-is-the-latest-product-of-political-rage-how-pop-culture-became-the-front-line-of-american-politics-269063?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-61) --- *THE LAST WORD* --- Thanks for sticking with me through this eclectic mix of stories. I'm always curious to hear which ones resonated with you or sparked questions of your own. Feel free to hit reply and share your thoughts—these conversations are what make this newsletter worthwhile. Best, Juergen ### Remixing Reality: The Ethics of Creative Theft URL: https://theintersect.art/issues/60/ Last updated: 2026-07-14T16:34:43.000Z Hi all, This week's stories all circle around the same thorny question: When does borrowing become stealing, and who gets to decide? Leonardo da Vinci's 500-year-old notebook sketches get rendered in stunning 3D animation—brilliant minds separated by centuries playing creative telephone with helicopters and robotic knights. Grace Weston restages art history's most famous paintings with dolls, swapping passive female muses for women who refuse their traditional roles (her upcoming series includes Lee Miller's "fuck you" photograph in Hitler's bathtub). And Meta tries to slap the MPA's PG-13 rating on its teen content filters, prompting a cease and desist letter that basically says: your reputation is so toxic, please stop associating with our carefully built trademark. Even nature gets in on the remix action. Scientists discovered those zigzag patterns certain spiders weave aren't just decorative flourishes—they're sophisticated tuning devices that help pinpoint where prey lands. Functional design masquerading as pure aesthetics. Meanwhile, I'll admit my bias showed through when discussing gaming films' influence on modern cinema. The Marvel-verse narrative tradition bothers me—violence and power fantasies dressed up as meaningful artistic content. Are these really the templates we want shaping visual culture, or are we just celebrating the same limited stories with better production values? Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *ART NARRATIVES* --- ![Leonardo Da Vinci's Visionary Inventions Rendered in 3d Animation: Helicopters, Robotic Knights, the First Ever Diving Suit & More](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d3a2ae04-dde6-40ca-8052-9843031b02f7.jpg) ## Leonardo Da Vinci's Visionary Inventions Rendered in 3d Animation: Helicopters, Robotic Knights, the First Ever Diving Suit & More A new video from *Lost in Time* brings Leonardo da Vinci's notebook sketches to life through 3D animation—helicopters, robotic knights, diving suits, and even an 80-foot crossbow requiring a dozen soldiers to operate. Colin Marshall at Open Culture highlights how these renderings help us see Leonardo's work from the perspective of his contemporaries, who would have been amazed to watch a seated knight stand up, open its visor, and reveal no one inside. What strikes me watching this isn't just the visual spectacle—it's the far harder mental exercise of transporting yourself back to his age. We take electricity, motors, and engines so completely for granted that we forget everything in Leonardo's world was human or horse powered. The video shows his "aerial screw" requiring four men running in circles around a platform just to attempt lift-off. > When you force yourself to imagine a world without any of our powered conveniences, Leonardo's creative leaps become even more staggering—not just inventing the concepts, but designing them within the constraints of muscle power alone. How much of our own innovation is limited not by imagination, but by the constraints we can't yet see past? [Read the original article →](https://www.openculture.com/2025/11/leonardo-da-vincis-visionary-inventions-rendered-in-3d-animation.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-60) --- *FILM & VIDEO* --- ![How Classic Gaming Films Continue to Shape Modern Cinema](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9f0e2467-fc63-4411-acfb-5e328d93b8f6.jpg) ## How Classic Gaming Films Continue to Shape Modern Cinema The Upcoming explores how films like *Tron* (1982) and *WarGames* (1983) established a visual and narrative language for gaming cinema—one that persists in everything from *The Matrix* to modern esports platform design. The piece traces how these classics taught filmmakers to capture digital drama through close-ups on controller grips, code reflections in players' eyes, and that distinctive final-level storytelling structure. I have to admit, though: I'm not a fan of the Marvel universe. And if we're saying classic "gaming films" are influencing modern cinema, I wish this wasn't just perpetuating comic book hero storytelling. The gaming narrative tradition has been riddled with violence and misogynistic behaviors designed to indulge young boys. So for that to become meaningful artistic content has always been a bit of a stretch for me—this coming from an "old fuddy daddy," of course. > What troubles me is when we celebrate gaming's influence on cinema, we're often celebrating a very narrow kind of story: power fantasies, combat mechanics translated to screen, and worlds where problems get solved through escalating confrontation. Are these really the templates we want shaping our visual culture? Does elevating gaming aesthetics into cinema expand our storytelling vocabulary, or just reinforce the same limited narratives with better production values? [Read the original article →](https://www.theupcoming.co.uk/2025/10/31/how-classic-gaming-films-continue-to-shape-modern-cinema/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-60) --- *PUBLIC ART* --- ![Montreal Artist Envisions What Cities Would Sound like if We Deprioritized Cars](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_03db8c29-e771-45d4-a5a4-723575c84747.jpg) ## Montreal Artist Envisions What Cities Would Sound like if We Deprioritized Cars Montreal sound artist Nicola Di Croce has created something I never thought I needed to hear—a city without car noise. Working on Place de la Paix, he documented the plaza's actual sounds, then manipulated them to create an alternate soundscape where the roar of automobiles fades and the sounds of nature and human voices rise to the surface. As Kea Wilson reports in Streetsblog USA, the result reveals something most urban planners overlook: sound shapes how we experience and move through cities just as much as physical design. I never considered what removing car sounds from your environment might actually sound like. Honestly, it's a fascinating thought experiment. But here's something curious—those sleeping alarm clocks with city noises and car horns? City dwellers sometimes struggle with silence when they vacation somewhere quiet. They find urban noise soothing. Personally, I'll take nature every time. > Di Croce isn't interested in policing sound, which too often becomes discriminatory enforcement—deciding that honking horns are fine while someone busking with a guitar isn't. His approach is more thoughtful: create soundscapes people actually want to hear rather than dictating what they can't. Would your city sound more human with fewer cars, or would you miss the familiar urban hum? [Read the original article →](https://www.planetizen.com/news/2025/11/136316-montreal-artist-envisions-what-cities-would-sound-if-we-deprioritized-cars?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-60) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Motion Picture Association Demands Meta Stops Using PG-13 Rating for Teen Accounts](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c42a3c53-922d-469b-bde4-66d2415208ef.jpg) ## Motion Picture Association Demands Meta Stops Using PG-13 Rating for Teen Accounts The Motion Picture Association sent Meta a cease and desist letter demanding the company stop using the PG-13 rating for its new Teen Account content filters, reports Chase DiBenedetto at Mashable. The MPA argues Meta's AI-powered moderation can't compare to their decades-old, human-centered rating system, and that any association with Meta's controversial practices will damage public trust in their carefully built trademark. Honestly, it took me a minute to even understand what the story was about. I never considered PG-13 to be a brand or something copyrightable, but once you think about it, the MPA's concern makes perfect sense. > In Meta's case, anything they endorse these days actually decreases rather than increases trust. When a company already under scrutiny for youth safety failures tries to borrow credibility from an established rating system, you're not adding legitimacy—you're diluting it. Is borrowing familiar cultural shorthand always fair use, or does context matter when that shorthand represents decades of carefully earned public trust? [Read the original article →](https://mashable.com/article/motion-picture-association-meta-teen-accounts-cease-and-desist?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-60) --- *DESIGN* --- ![Trutru Haptic: a Playful Touch of Technology and Care by JUE Design](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b7d682be-494d-4d3c-8769-e0587a96b02c.jpg) ## Trutru Haptic: a Playful Touch of Technology and Care by JUE Design JUE Design and Research Studio, collaborating with Hong Kong Polytechnic University's IHMMI Lab, has created TruTru Haptic—a soft, glowing companion device that simulates textures through haptic feedback. As Design Swan reports, it can recreate sensations from smooth stone to falling rain, offering four modes: Companion (mood-responsive), Meditation (breathing cues), Sleep (thermal comfort), and Custom (personalized settings). The design targets therapeutic applications for anxiety, ADHD, PTSD, autism, and dementia through what JUE calls a "sensory language of care." But here's what nags at me: Can the idea of ergonomics in design ever go too far? We're building devices that anticipate every need, smooth every rough edge, optimize every moment of discomfort. At what point does this caring technology start to feel less like support and more like a cushion against experiencing the world as it actually is? > I think about universal design—how curb cuts help everyone, not just wheelchair users. But TruTru represents something different: technology that mediates our emotional states, that becomes a buffer between us and our own feelings. There's something both compelling and unsettling about outsourcing emotional regulation to a glowing jelly creature. Is designing away all friction really care, or are we infantilizing ourselves with technology that promises we'll never have to feel uncomfortable again? [Read the original article →](https://www.designswan.com/archives/trutru-haptic-a-playful-touch-of-technology-and-care-by-jue-design.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-60) --- *Q+ART & PODCAST INTERVIEWS* --- ![Photographer Grace Weston Reclaims the Muse](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1d7aec9c-aa64-41e1-8a3a-dec64c1ca27b.jpg) ## Photographer Grace Weston Reclaims the Muse What if we could rewrite art history's most misogynistic narratives using nothing more than dolls, miniature props, and a camera? Portland photographer Grace Weston does exactly that in her series *Reclaiming the Muse*, staging subversive reimaginations of famous artworks where women refuse their traditional roles as passive objects. In an interview by Morgan Laurens for Not Real Art, Weston discusses her process of sourcing, altering, and fabricating miniature sets that challenge centuries of male-dominated storytelling. I came across this piece through Not Real Art's First Friday exhibition series, where Morgan recently curated *Witchy Women*—a show that features many of Grace's images. The interview itself is fantastic, walking through the wild mythology behind works like "Venus and the Pill" and Weston's clever inversions of pieces like Magritte's "Son of Man," which she transforms by swapping the apple for a ripe papaya in "Ceci N'est Pas un Homme." > What struck me most was Grace's upcoming series, *Resistance: Women of a Certain Rage*, which will restage iconic moments of female defiance throughout history—including Lee Miller's famous "fuck you" photograph taken in Hitler's bathtub on the very day he died, with Buchenwald mud still on the bathroom rug. Can miniatures wielding hoses and cigarettes really undo centuries of objectification, or do they simply reveal how absurd those narratives were all along? [Read the original article →](https://notrealart.com/grace-weston/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-60) --- *ART & SCIENCE* --- ![Puzzling Spider Web Decorations Revealed to Boost Prey Detection](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_4f8f8cd6-a54c-460a-9717-d665289e44f3.jpg) ## Puzzling Spider Web Decorations Revealed to Boost Prey Detection Scientists have finally solved a centuries-old mystery about those thick, zigzag silk patterns—called stabilimenta—that certain spiders weave into their webs. A new study published in *PLoS One* by researchers from Denmark, Italy, Sweden, and the UK reveals these decorations aren't just random architectural flourishes. They're sophisticated tuning devices that help spiders pinpoint exactly where prey lands by controlling how vibrations travel through the web. Vasudevan Mukunth reports for The Hindu on this fascinating discovery. Here's what strikes me about this: spiders are creating art with purpose. These elaborate patterns function as a spectacle—a carefully designed visual element meant to dazzle and ultimately trap their prey. There's something darkly poetic about that creative impulse serving such a predatory function. > The wasp spider doesn't always build these decorations, which only deepens the intrigue. Maybe they're adjusting their artistic approach based on environmental conditions, prey availability, or threats from predators who might spot an elaborately decorated web more easily. Could the line between functional design and artistic expression be more blurred than we think? [Read the original article →](https://www.thehindu.com/sci-tech/science/puzzling-spider-web-decorations-revealed-to-boost-prey-detection/article70225398.ece?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-60) --- *VIRTUAL AND AUGMENTED REALITY IN ART* --- ![Michelangelo Explains Sculpting David in Virtual-Reality App](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_63f18108-187c-49ce-ad60-b2c66591bf2e.jpg) ## Michelangelo Explains Sculpting David in Virtual-Reality App A new virtual reality experience in Florence lets visitors watch Michelangelo's David emerge from marble while an AI-recreated version of the master's voice narrates the entire creative process. Developed by Slow Tour Tuscany and Way Experience as part of their "Masters of the Renaissance" series, the VR app combines spatial computing with art historical detail—all validated by historians and curators, according to ANSA. We haven't featured a VR or AR story in a while, and this one genuinely intrigued me. Who wouldn't want Michelangelo himself walking you through his most famous work? There's that legendary quote often attributed to him about sculpting David—possibly apocryphal, but perfect nonetheless. > When asked about the difficulties he must have encountered creating his masterpiece, Michelangelo supposedly replied: "It is easy. You just chip away the stone that doesn't look like David." In this VR experience, I guess he takes us through that process step by step. Does experiencing art through technology bring us closer to the creator's intent, or does it risk making the actual sculpture feel like an afterthought? [Read the original article →](https://www.ansa.it/english/news/lifestyle/arts/2025/11/05/michelangelo-explains-sculpting-david-in-virtual-reality-app%5F1de132a4-3117-481b-ac31-e4471665327e.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-60) --- *THE LAST WORD* --- Thanks for reading this week's exploration of creative borrowing, uncomfortable inheritances, and things pretending to be what they're not. Whether it's technology, aesthetics, or metaphorical frameworks, we're all working with borrowed tools—and the ethics get messy when you start asking who originally owned them and whether they'd approve of what we've built. I'd love to hear your thoughts on where you draw the line between homage and heist. Best, Juergen ### The Code Was Always There: Looms, Punch Cards, and Computational Thinking URL: https://theintersect.art/issues/59/ Last updated: 2026-07-14T16:33:15.000Z Hi all, This week's stories circle around a question that's been nagging at me: when does an artist's decade-long practice with neural networks suddenly become "AI art" just because the mainstream caught up? Christopher Kulendran Thomas has been training custom machine learning models and hand-painting the results onto canvas since before most people knew what a GAN was. Now he's got simultaneous shows at Gagosian, MoMA, and the New Museum—and I'm watching how easily this nuanced, conceptual work risks getting lumped into the same category as one-click prompt generators. Similarly, Analia Saban's exhibition at Tanya Bonakdar Gallery reveals something I keep coming back to: textile artists working at the art-tech forefront, showing us that weaving has always been code. Her marble puffer jacket carved by hand and robotic technology, her woven paintings of server fans—these pieces connect the Jacquard loom's programmable punch cards to today's computational systems in ways that feel inevitable once you see them. Elsewhere this week, Maurizio Cattelan's solid gold toilet heads to auction with a starting price set at its weight in gold (around $10 million), which feels like the most perfectly calibrated commentary on America that a title alone can carry. We're also looking at NFTs rebranding themselves as "digital collectibles" to escape their reputation damage, designers who are the most skeptical creatives about AI dulling originality (despite 94% using it), and a fascinating look at which dead artists get their styles appropriated most in Midjourney prompts—Alphonse Mucha leads with 230,794 mentions. Plus, there's stunning astrophotography that reminds me why I sold my telescope years ago (I lacked the patience and technical skill these winners demonstrate), and a Chinese art-tech biennale that approaches AI with zero anxiety and pure celebration, which raises interesting questions about how different cultures frame this technological moment. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *ART NARRATIVES* --- ![Analia Saban Explores the Intersection of Art and Technology in New York](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8ac56b9e-6f8c-440c-ad57-10c553192b50.jpg) ## Analia Saban Explores the Intersection of Art and Technology in New York A marble puffer jacket hangs casually on a hook at Tanya Bonakdar Gallery—Classical sculpture meets contemporary streetwear, carved by hand and robotic technology. Analia Saban's exhibition *Flowchart* presents woven paintings depicting server fan blades, encaustic flowcharts mapping AI-like prompts for making art, and tapestries that merge the binary logic of early computer memory with the grid of a loom. As reported by Art Daily, this show runs through December 18 and connects weaving's ancient logic to today's computational systems. I'm often surprised how many textile artists work at the forefront of the art-tech intersection. And here's another example. > Saban's process reveals something fundamental: weaving has always been code. The Jacquard loom—programmable punch cards controlling thread patterns—directly inspired Charles Babbage's computing machines. When she interlaces linen with strips of dried acrylic paint, or carves notebook pages with laser precision, she's not just making metaphors about technology. She's showing us that textile arts have been computational thinking all along. When does the metaphor become the medium itself? [Read the original article →](https://www.artdaily.cc/index.asp?int%5Fsec=11&int%5Fnew=186886&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-59) ![Move over, Banana: Maurizio Cattelan's Golden Toilet Is Coming to Auction](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_efc9e1e0-8258-4c45-99bd-1267568fad09.jpg) ## Move over, Banana: Maurizio Cattelan's Golden Toilet Is Coming to Auction Maurizio Cattelan's solid gold toilet is heading to auction—and in what feels like a perfectly orchestrated commentary, Sotheby's will set its starting price at its weight in gold, around $10 million. Richard Whiddington at Artnet News reports that *America*, the 18-karat, 220-pound functional toilet, will be displayed (but not used, unlike its Guggenheim debut where 100,000 visitors relieved themselves on it) before hitting the block on November 18. I keep thinking about how this piece's title does all the heavy lifting. Sometimes artwork titles feel arbitrary or deliberately obscure, but *America* needs no explanation. The name carries the entire critique—the excess, the inequality, the gold-plating of everything, the transactional nature of contemporary culture. > What stands out to me is how Cattelan essentially created Duchamp's *Fountain* for our moment. But where Duchamp questioned what qualifies as art, Cattelan aims his satire at the subject itself: a nation where literally everything is for sale, including functional gold toilets that cost more than most people earn in a lifetime. Worth noting: this is the twin of the version stolen from Blenheim Palace in 2019 and never recovered—probably melted down and sold for parts, according to prosecutors. [Read the original article →](https://news.artnet.com/market/maurizio-cattelan-america-gold-toilet-auction-2707156?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-59) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![NFTs Are Dead. Long Live Digital Collectibles: How Web3 Ownership Is Quietly Redefining Design and Art in 2026](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_0251ff9b-7284-464d-ae55-2264a45cdd55.jpg) ## NFTs Are Dead. Long Live Digital Collectibles: How Web3 Ownership Is Quietly Redefining Design and Art in 2026 The hype is dead, but the infrastructure survived. WE AND THE COLOR examines how 2026's "digital collectibles" quietly power gaming economies, loyalty programs, and real-world asset tokenization—though you won't hear the term NFT anymore. After the 2022 speculative crash burned investors and turned profile pictures into worthless JPEGs, the rebrand became necessary for survival. But will a name change really erase the damage? I doubt it. I was genuinely sorry to see the NFT scandals unfold and watch their impact on blockchain's true potential for digital provenance in art. When a hype cycle hits, there's this brief window where everyone glimpses the real possibility. Then the bubble bursts, scandals become headline news, and the reputational wreckage lingers for years—maybe decades. > The skepticism we're dealing with today isn't going away just because we swap acronyms. Once the public story becomes "remember that scam," you're fighting an uphill battle that shapes perception long after the technology matures and finds legitimate uses. Can utility-focused applications—fractional ownership, cross-chain identity, programmable art—overcome the trust deficit, or have we poisoned the well for a generation? [Read the original article →](https://weandthecolor.com/nfts-are-dead-long-live-digital-collectibles-how-web3-ownership-is-quietly-redefining-design-and-art-in-2026/206559?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-59) --- *AI IN VISUAL ARTS* --- ![Christopher Kulendran Thomas Is Imagining the Ghosts of the Future](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_2fb725d0-3931-4746-bcfa-95044747deb5.png) ## Christopher Kulendran Thomas Is Imagining the Ghosts of the Future Christopher Kulendran Thomas has been training his own neural networks from scratch for over a decade, hand-painting AI-generated compositions onto canvas long before "AI art" entered the mainstream conversation. Daniel Cassady profiles the artist for ARTnews as Thomas takes over New York with simultaneous shows at Gagosian, MoMA, and the New Museum—works that metabolize colonial art history and reimagine haunted spaces like Mullivaikkal beach, where an estimated hundred thousand Tamil civilians were massacred in 2009. What strikes me about this story is how easily pioneering work gets swept into the same skeptical bucket as today's one-click AI image generators. Artists like Thomas spent years developing thoughtful approaches that combine manual craft with machine learning—building custom models, training them on specific historical contexts, then physically painting the results. That nuanced practice risks being diminished simply because it involves algorithms. > The irony is that while we're all debating whether AI art is "real art," artists who've been doing this work seriously for a decade are finally getting major institutional recognition—and they're the ones most skeptical of the AI hype. Is there a way to distinguish between artists who use machine learning as one tool in a larger conceptual practice and those who simply prompt their way to a finished piece? [Read the original article →](https://www.artnews.com/art-news/news/christopher-kulendran-thomas-moma-gagosian-new-museum-1234759508/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-59) ![These Artists, Architects, and Directors Are the Most-Used Prompts for Generative AI Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_61773fd0-63f0-4c09-af7b-adb0fe3ff3e1.jpg) ## These Artists, Architects, and Directors Are the Most-Used Prompts for Generative AI Art Kapwing, a video creation platform, dug into Midjourney's Discord to find out which artists are getting their styles appropriated the most. Sara Barnes, writing for My Modern Met, reports that Czech Art Nouveau master Alphonse Mucha leads the pack with 230,794 prompts—nearly double the runner-up, Rembrandt. Wes Anderson dominates the directors' category, while Zaha Hadid tops the architects. What strikes me as darkly funny is that they've essentially created a "Most Ripped-Off Artist Hall of Fame." It's an interesting leaderboard, sure, but let's be clear about what we're ranking here. To their credit, Barnes addresses all the ethical concerns—the lack of consent, the absence of compensation, and the real copyright issues we're seeing play out in courts and legislatures worldwide. > I'm genuinely curious why Art Nouveau keeps appearing across all these different disciplines. Is it the ornamental complexity that makes for impressive AI outputs? Or does the style just photograph well in a grid of generated images? Maybe we should start calling these "achievement unlocked" badges for unwilling participants in AI's training data. [Read the original article →](https://mymodernmet.com/most-ai-prompted-artists-midjourney/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-59) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![Designers Most Likely Among Creatives to Believe AI Dulls Creativity](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_23d13076-e37f-4ff1-ab65-6674c4ebaa98.jpg) ## Designers Most Likely Among Creatives to Believe AI Dulls Creativity A new survey from the University of Exeter's DIGIT Lab reveals something striking: designers are the most skeptical creatives when it comes to AI, with 81% believing the technology dulls originality. That number, reported by Dezeen, far outpaces writers and journalists at 63%—yet here's where things get interesting. I think the framing of this entire debate deserves scrutiny. We keep talking about AI "replacing" creativity and originality, as if that's somehow the intended goal. Most creatives seem genuinely worried about this. But here's the contradiction: 94% of creatives now use AI in some part of their process. So what are we really debating? > The real question isn't whether AI threatens human originality—it's whether we're asking the wrong question entirely. When nine out of ten creatives use these tools while simultaneously fearing them, maybe we need to shift from replacement anxiety to enhancement possibility. Is this a crisis of creativity, or a crisis of how we're choosing to frame the conversation? [Read the original article →](https://www.dezeen.com/2025/10/27/ai-dulls-creativity-design-survey/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-59) --- *DEFINITELY NOT AI* --- ![Winning Shots from the 2025 ZWO Astronomy Photographer of the Year Contest](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3394f8c1-7e4f-4063-bf5a-3474ce3baa44.jpg) ## Winning Shots from the 2025 ZWO Astronomy Photographer of the Year Contest The Royal Observatory Greenwich just announced the winners of the ZWO Astronomy Photographer of the Year 2025 competition, and these images are spectacular. *The Andromeda Core* by Weitang Liang, Qi Yang, and Chuhong Yu took top honors, capturing the galaxy's heart in stunning detail from Spain's AstroCamp Observatory. Winners shared £10,000 in prize money plus subscriptions to BBC Sky at Night Magazine, with the exhibition now on display at London's National Maritime Museum, as reported by DeMilked. In the category of definitely not AI-generated, these images are simply stunning. I've experimented with astrophotography myself, and I know how much patience, equipment, knowledge, and effort it takes to even start getting usable images of the night sky. The fact that these photographers achieve results like this always leaves me astounded. > I sold my telescope years ago with an internal excuse about the skies not being dark enough around here. But really, I lacked the technical skills and patience—plus the willingness to travel to dark sky spots—to produce images like these. It takes real dedication. So for me, these are worth a look and a source of genuine appreciation—would you invest the time to master this technically demanding art form? [Read the original article →](https://www.demilked.com/astronomy-contest-2025/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-59) --- *EXHIBITIONS & EVENTS* --- ![Symbiotic Cosmos: Cultural Ecological Reconstruction Amidst Technological Iteration China (Hangzhou) Art and Technology Biennale Kicks Off](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_c76300e2-aba7-4734-aa13-9600ca6312b9.jpg) ## Symbiotic Cosmos: Cultural Ecological Reconstruction Amidst Technological Iteration China (Hangzhou) Art and Technology Biennale Kicks Off The China (Hangzhou) Art and Technology Biennale brought together over 160 artists, scientists, and creators from more than 20 countries to the Yuhang Art Museum, according to a press release from the China Academy of Art. The exhibition spans everything from digital reconstructions of 5,000-year-old Liangzhu jade artifacts to space-based computing infrastructure and deep-sea intelligent submersibles—all framed around "Cultural Ecological Reconstruction Amidst Technological Iteration." What strikes me when I read art news and press releases from other countries is where the focus lies. In this Chinese "Art and Technology" biennale, I notice the emphasis on science and a complete absence of anxiety about AI destroying human creativity. Is this what we'd expect from what we view as a totalitarian regime? Or is it simply *Realpolitik*—the German word for a practical rather than ideological approach? > The contrast feels significant. While Western art institutions wrestle with ethical frameworks and artist displacement concerns, this exhibition celebrates the convergence of art and technology as an inevitable ascent, echoing Flaubert's observation that art and science will "meet again at the summit." Maybe there's something to learn from looking sideways at how different cultures frame the same technological moment. [Read the original article →](https://www.prnewswire.com/news-releases/symbiotic-cosmos-cultural-ecological-reconstruction-amidst-technological-iteration-china-hangzhou-art-and-technology-biennale-kicks-off-302595131.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-59) --- *THE LAST WORD* --- Thanks for spending time with these stories this week. I'm genuinely curious how you're thinking about the difference between artists who've been using machine learning as part of a larger conceptual practice for years versus the more recent wave of AI-generated work—it's a distinction that feels important but increasingly hard to communicate. As always, I'd love to hear your thoughts. Best, Juergen ### Monsters, Methods, and the Meaning Behind the Making URL: https://theintersect.art/issues/58/ Last updated: 2026-07-14T16:33:13.000Z Hi all, This week's newsletter turned into something of an accidental Halloween edition, and I'm not mad about it. We've got Guillermo del Toro comparing Frankenstein's creator to a careless tech bro while declaring he'd rather die than use generative AI—a characteristically blunt take from a director who's never shied away from monsters, whether they're on screen or in Silicon Valley. Then there's Scott Power's annual Art World Horror Stories podcast episode featuring tales that'll make you shudder: racist comments flooding an artist's social media, Hurricane Helene destroying Asheville's entire River Arts District and displacing 700 artists, and a jealous wife literally slicing up her husband's lover's painting. If that's not enough spooky content, we also have a journalist who recreated Walt Disney's 1929 *The Skeleton Dance* using motion capture dots during a back pain research study. Beyond the seasonal scares, we're looking at some genuinely thought-provoking work. There's Elise Swopes' *Chasing Waterfalls* series—Chicago skyscrapers swallowed by cascading water, created through painstaking manual composites years before AI could do it in seconds. Photo Oxford returns with Michael Christopher Brown using AI not to generate pretty pictures, but to protect the identities of vulnerable Cuban workers he photographed. And 17 Indigenous artists staged an unauthorized AR exhibition at the Met, digitally transforming 19th-century colonial paintings with powwow dancers and pointed inversions that ask who gets to tell American stories. We've also got the world's smallest pixels hitting the theoretical limit of human vision, and yet another absurd AI gadget that solves problems nobody asked to have solved. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *FILM & VIDEO* --- ![Guillermo Del Toro Compares Frankenstein to a Careless "Tech Bro," Says He Would "Rather Die" Than Use Generative AI](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_22433f6f-467e-494a-a73e-56a7197437d3.jpg) ## Guillermo Del Toro Compares Frankenstein to a Careless "Tech Bro," Says He Would "Rather Die" Than Use Generative AI Guillermo del Toro has never been one to mince words, and his latest comments about AI in filmmaking are characteristically blunt. Speaking to GamesRadar, the visionary director behind *Pan's Labyrinth* and *The Shape of Water* compared Frankenstein to a careless "tech bro" and declared he would "rather die" than use generative AI. His pithy summary? "My concern is not artificial intelligence, but natural stupidity." I love del Toro's work and his attitude, but I think AI will become so prevalent in the film industry's back-end video editing processes and automations that it will become increasingly hard to avoid it. There's a useful distinction we need to make here between generative video and AI-powered editing tools. > If he's saying he'd rather die than use generative video, that's one thing—and I respect that line. But if he's saying he'd rather die than use any AI-powered filmmaking tools, that will be hard to achieve. Where do you draw the line between tools that support your creative vision and tools that replace it? [Read the original article →](https://www.gamesradar.com/entertainment/horror-movies/guillermo-del-toro-compares-frankenstein-to-a-careless-tech-bro-says-he-would-rather-die-than-use-generative-ai/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-58) --- *PHOTOGRAPHY* --- ![World's Smallest Pixels Achieve the Sharpest Display Ever Seen by the Human Eye](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_94461195-bf1e-4c48-a7d8-9e9ade618a7b.png) ## World's Smallest Pixels Achieve the Sharpest Display Ever Seen by the Human Eye Swedish researchers have built a display with pixels so tiny—560 nanometers—that they've hit the theoretical limit of human visual perception. The team from Chalmers University, the University of Gothenburg, and Uppsala University created "retina E-paper" that packs 25,000 pixels per inch into a screen the size of a human pupil, as reported by Knowridge Science Report. They even recreated Klimt's *The Kiss* on a surface smaller than a grain of rice. Here's what strikes me about this achievement: we've spent two to three decades obsessing over resolution, pushing it far beyond what our eyes can actually detect. And now we've finally arrived at "enough." Meanwhile, photographers—myself included—take these pixel-perfect images and run them through Instagram filters to add back the grain that analog photography had naturally. We emulate Fuji, Aqua, and Kodak grain structures, retrograding our perfect captures to introduce the imperfections we supposedly evolved past. > There's something wonderfully absurd about building displays that exceed human perception, then using them to mimic the grainy, emulsion-driven aesthetic of black and white film that shaped photography for generations. Have we been chasing technical perfection just so we could choose imperfection on our own terms? [Read the original article →](https://knowridge.com/2025/10/worlds-smallest-pixels-achieve-the-sharpest-display-ever-seen-by-the-human-eye/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-58) ![Facets of Truth as Photo Oxford Opens](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a6057366-ba02-44f9-ad1d-d7b946757d99.jpg) ## Facets of Truth as Photo Oxford Opens Photo Oxford returns this month with a theme that cuts right to the heart of our current moment: Truth. Running through mid-November, the biennial festival explores how photography both reveals and obscures reality—from apartheid-era confessions to AI-manipulated employability scores. Writing in 1854 Photography, Rachel Segal Hamilton spotlights new director Katy Barron's vision for exhibitions that embrace complexity rather than easy answers. What drew me in was Michael Christopher Brown's *90 Miles* series. He photographed Cubans traveling between their home country and Florida for work, but faced a crucial problem: how do you tell their stories without putting them at risk? His solution fascinates me—combining traditional documentary photography with generative AI to protect their identities. It's not about replacing the camera with algorithms; it's about using both tools thoughtfully to make journalism possible where it otherwise couldn't exist. > This is exactly the kind of AI application that interests me—not generating pretty pictures from text prompts, but solving real ethical problems that documentary photographers face in the field. Should protecting vulnerable subjects become AI's most defensible use case in photography? [Read the original article →](https://www.1854.photography/2025/10/photo-oxford/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-58) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![An AI Camera for Your Iphone: Caira Tries, but Do We Need It?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_37fbcac4-5834-4488-baa1-10d7c235ca1e.jpg) ## An AI Camera for Your Iphone: Caira Tries, but Do We Need It? Caira wants to solve a problem that doesn't exist. This new iPhone attachment combines physical lenses with Google's Nano Banana AI model to instantly transform your photos—turn water into wine, alter someone's hair, fabricate memories that never happened. The startup Camera Intelligence plans to launch it November 4th, but as Domus rightly asks in their critical assessment: why would anyone need a dedicated device for something your phone already does? The pace of nonsensical AI product launches has reached absurd levels. I loved this line from the article: "I wish I had a camera that could alter reality in front of my very eyes, faster than I could do that by uploading my picture to ChatGPT," said no one ever. Yet here we are, watching inventors respond to pleas that were never made. > This is textbook solution-in-search-of-a-problem thinking—startuppers building hardware for AI features that work perfectly fine as software, creating friction where none needed to exist. Will Caira join the AI Pin in the graveyard of overhyped gadgets that mistook current AI trends for actual consumer needs? [Read the original article →](https://www.domusweb.it/en/news/gallery/2025/10/23/caira-ai-camera-iphone.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-58) --- *DEFINITELY NOT AI* --- ![Chasing Waterfalls Showcases Stunning Surrealism](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_f1d9d50e-c68b-4a11-90d9-009ad65e1e55.jpg) ## Chasing Waterfalls Showcases Stunning Surrealism Elise Swopes' *Chasing Waterfalls* series presents Chicago's skyline swallowed by cascading water—massive torrents pouring over skyscrapers in images that feel both beautiful and ominous. Moss and Fog recently revisited these several-year-old composites, noting how they've gained new resonance in our era of climate anxiety and rising seas. The reference to Spielberg's *AI* and its half-submerged future cities only sharpens that edge. What strikes me most is that Swopes created these without AI, through painstaking manual composite work. Now that generative AI can produce similar surreal imagery in seconds, I find myself wondering: does that ease of creation diminish the vision and message embedded in work like this? Does the democratization of image-making through AI dilute artistic potential, or does the intentionality behind the creation still matter more than the method? > The technical accomplishment becomes part of the meaning—knowing someone spent hours perfecting each waterfall's flow and light interaction adds weight to the environmental metaphor these images carry. When the barrier to creating surreal visions drops to near-zero, does that change how we value the vision itself? [Read the original article →](https://mossandfog.com/chasing-waterfalls-showcases-stunning-surrealism/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-58) --- *Q+ART & PODCAST INTERVIEWS* --- ![Art World Horror Stories: From Natural Disasters to Mangled Masterpieces and Social Media Meltdowns](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_85d52029-200a-4113-b8cc-d1a7d4e08bc6.png) ## Art World Horror Stories: From Natural Disasters to Mangled Masterpieces and Social Media Meltdowns Melissa Diggs watched racist comments pile up under her print that simply read "racism is wrong." Wendy Newman salvaged umbrellas from the Marquis Art Gallery after Hurricane Helene destroyed Asheville's River Arts District, displacing 700 artists. Jacobina Oele discovered her painting had been sliced up by a jealous wife. Scott "Sourdough" Power at Not Real Art narrates these three chilling tales in his annual Art World Horror Stories podcast episode—and yes, the timing is fitting. I'm not necessarily trying to make this a Halloween edition of our newsletter, but it is that time of the year. My good friend Scott Power has once again featured Art World Horror Stories in an annual episode of his podcast. Plus we did have a Frankenstein story in this issue as well. > These stories remind me that the art world's real horrors aren't supernatural—they're the very human threats of censorship, natural disaster, and jealousy that can destroy creative work in an instant. What horror story might you be living through right now without even realizing it? [Read the original article →](https://notrealart.com/art-world-horror-stories-2025/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-58) --- *DANCE* --- ![Watch My Skeleton Dance for Science](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_2d25ecc6-d08b-447b-ab95-d84aee838e46.png) ## Watch My Skeleton Dance for Science When Bob Grant, deputy editor at Nautilus, showed up to a Washington University research lab for a back pain study, he became an unwitting performer in the best possible way. Covered in motion capture dots and stripped down to compression shorts, he was supposed to bend and stretch so researchers could study movement patterns in people with chronic pain. Instead, Grant saw an opportunity too perfect to resist—he recreated Walt Disney's 1929 *The Skeleton Dance*, turning clinical data collection into spooky seasonal art. Here's another Halloween-themed piece of art news, this time about dance. We don't feature enough of it, but this seasonal skeleton dance is for a good cause—solving back pain, which affects 60-80 percent of adults at some point in their lives. > The research itself is fascinating: by following participants over a year and digitizing their movements, physical therapist Linda Van Dillen's team hopes to identify the precise moments when acute pain transitions to chronic suffering. Early detection could transform treatment before temporary discomfort becomes a lasting condition. What better reminder that creativity can emerge anywhere, even in the most clinical settings? [Read the original article →](https://nautil.us/watch-my-skeleton-dance-for-science-1242514/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-58) --- *VIRTUAL AND AUGMENTED REALITY IN ART* --- ![Indigenous Artists Transform Works at Metropolitan Museum in Unsanctioned Augmented Reality Project](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_c314bee9-a3a8-4570-bde8-6adabc2ad10f.png) ## Indigenous Artists Transform Works at Metropolitan Museum in Unsanctioned Augmented Reality Project On Indigenous Peoples' Day, 17 Native artists staged something remarkable at the Metropolitan Museum of Art: an unauthorized augmented reality exhibition that digitally transforms 19th-century paintings in the American Wing. Using AR accessible through smartphones, visitors can see powwow dancers overlaying colonial landscapes, ivy suffocating grandiose historical scenes, and the White House replacing the Parthenon—pointed inversions that ask who gets to tell American stories. Petala Ironcloud reports for The Art Newspaper on this intervention called *ENCODED: Change the Story, Change the Future*, co-curated by Tracy Renée Rector and an anonymous Indigenous co-curator. I find it hard not to love this. There's something beautifully subversive about using technology to reclaim narrative space that institutions won't freely offer. These artists didn't ask permission—they simply built their own layer of truth over paintings that have long presented whitewashed versions of American history. > The timing matters too. While the Met has made modest progress—hiring its first associate curator of Native American art in 2020—Indigenous works remain segregated in corners. Even when the museum exhibits contemporary Native artists like George Morrison, they're kept separate from their New York School peers. What happens when artists stop waiting for institutional approval and create their own reality instead? [Read the original article →](https://www.theartnewspaper.com/2025/10/13/indigenous-artists-unsanctioned-augmented-reality-exhibition-metropolitan-museum?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-58) --- *THE LAST WORD* --- Thanks for spending some time with these stories this week. Whether you're celebrating Halloween or just navigating the everyday horrors and wonders of the art-tech landscape, I'd love to hear what resonated with you—or what you think I'm getting wrong. The conversation is always better when it's two-way. Best, Juergen ### The Retreat to Analog: When Digital Tools Stop Feeling Like Progress URL: https://theintersect.art/issues/57/ Last updated: 2026-07-14T16:33:10.000Z Hi all, This week I found myself thinking about the music tools I used to love—the samplers, digital workstations, and generation software that once felt revolutionary. After decades of dabbling at the cutting edge of digital music, I'm back to playing acoustic guitar, finding more connection in wood and strings than in algorithms. That shift mirrors a bigger story emerging across creative fields, and several articles this week helped me understand why. We're looking at tradition versus technology in music composition, Spotify's new "responsible AI" partnerships with major labels, and what happens when economic incentives collide with artistic values. Beyond music, this week explores how photography—once our most trusted link to reality—continues its algorithmic transformation, from Paris Photo's Digital Sector to Milan's "Transizioni" exhibition. We also examine how New Zealand's "biculturalism" reveals patterns in how we talk about culture while avoiding economic history, why visual artists are demanding retrospective payments for AI training data, and whether we can actually define "slop" in any meaningful way. Each story asks variations on the same question: how do we preserve human choice and creative intention when technology makes generation easier than creation? Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *TECHNOLOGY IN MUSIC* --- ![Tradition Vs. Technology: Battle for Music's Future](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_38fef828-0eb4-4744-9b7b-8e27070189c2.jpg) ## Tradition Vs. Technology: Battle for Music's Future When technology makes something easier, it often buries alternatives in darkness—a line that cuts to the heart of modern music creation. In a thoughtful piece for Daily Sabah, Sedat Anar traces how composers from Morton Feldman to Derek Bailey warned that music is changing, and not always for the better, as technological advancement pushes us toward "create, produce, consume" while traditional performance fades. I haven't been paying as much attention to music's technological shift as I have to visual media, but this article really landed. After being at the cutting edge of digital music in the mid-80s, I find myself gravitating back to acoustic guitar instead of the myriad generation tools now at my disposal. All the sampling, digital production, and now algorithmic music kind of left me turned off. > For me now, sitting down with an acoustic guitar is more personal therapy than artistic production—a way to reconnect with music born from emotion rather than efficiency. Could it be that AI and computer-generated music are already heading toward the existential dead-end Anar predicts? [Read the original article →](https://www.dailysabah.com/arts/music/tradition-vs-technology-battle-for-musics-future?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-57) ![Spotify Partners Major Labels to Develop 'responsible' Ai Music Tools](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_0d7ea226-c363-4cd3-bdba-a99b94e9668b.jpg) ## Spotify Partners Major Labels to Develop 'responsible' Ai Music Tools Spotify just announced partnerships with Sony, Universal, Warner, Merlin, and Believe to develop what they're calling "responsible" AI music tools—complete with four noble-sounding principles about collaboration, artist choice, fair compensation, and protecting the artist-fan connection. Music In Africa reports the streaming platform is establishing a dedicated AI research lab and even removed 75 million "spammy" AI tracks earlier this month to show they're serious. All the major label CEOs lined up to praise the initiative, with Universal's Lucian Grainge calling it a "critical step forward." But here's what keeps me up at night: these announcements sound wonderful on paper, but the commercial incentives haven't changed. Spotify still benefits enormously from cheap content that fills playlists without requiring royalty payments to actual artists. I keep thinking about listeners consuming AI-generated music without even realizing it—background tracks that cost pennies while human musicians struggle for fractions of a cent per stream. > The problem isn't whether Spotify develops these tools "hand in hand" with the industry. It's whether the economic model fundamentally rewards flooding the platform with synthetic content that's good enough to keep people listening, but cheap enough to maximize profit margins. When every stakeholder says the right things about protecting artists, who's actually checking whether the incentives align with those promises? [Read the original article →](https://www.musicinafrica.net/magazine/spotify-partners-major-labels-develop-responsible-ai-music-tools?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-57) --- *SOCIETAL IMPACT OF ART AND TECH* --- !["Culture Talk" and Indigenous Economic History](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_1573268f-65b9-4816-a55a-f1bdaec45e53.png) ## "Culture Talk" and Indigenous Economic History Miranda Johnson's sharp essay in the Journal of the History of Ideas examines how New Zealand's "biculturalism"—the idea that Māori and Pākehā cultures form equal pillars of national identity—obscures a more complex economic story. While progressive discourse celebrates cultural recognition and frames Indigenous Māori as victims of colonial dispossession, it conveniently ignores how Māori leaders have actively pursued economic development for over a century. Today, the "Māori economy" is booming, with tribal holdings managing billions in assets. Johnson's observation that "cultural explanations of political outcomes tend to avoid history" resonates far beyond New Zealand. I find it so helpful to read about this in other cultures because it serves to disconnect oneself from political preconceptions. The same patterns emerge in our own brief history—Black and white, North and South, old immigration versus new. Reading about biculturalism in another context lets us see the dysfunction more clearly. > What strikes me most is how progressive "culture talk" can actually perpetuate the very problem it claims to solve. By treating Indigenous culture as existing outside capitalism's history, we can't explain contemporary Māori economic success—leaving that narrative to the political right. Can we acknowledge both historical injustice and present-day economic dynamism without one erasing the other? [Read the original article →](https://www.jhiblog.org/2025/10/20/culture-talk-and-indigenous-economic-history/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-57) --- *AI IN VISUAL ARTS* --- ![Artists Should Receive Retrospective Payments for Works Used to Train Ai, Arts Organisations Say](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e6430bb2-45c3-489f-8e93-ce9a192bed5a.jpg) ## Artists Should Receive Retrospective Payments for Works Used to Train Ai, Arts Organisations Say A coalition representing more than 100,000 visual artists has issued a bold demand: AI companies should make retrospective payments for the copyrighted works they scraped without permission to train their models. As Joe Ware reports for The Art Newspaper, groups including the Design and Artists Copyright Society and the Association of Photographers want transparent disclosure of training datasets, fair licensing agreements, and compensation for what they see as theft. Derek Brazell from the Association of Illustrators points to websites like Have I Been Trained?, which has identified "billions" of images used without consent. I find the framing fascinating—it really does echo current conversations about reparations for historical injustices. The AI industry has already appropriated copyrighted materials, and now artists want redress for that appropriation. I'm deeply sympathetic to these demands, but I'm also realistic about the outcomes. History shows us how difficult it is to unwind such situations once they've happened. > The comparison to the Luddites keeps coming to mind. I'm not saying artists are Luddites—far from it—but the arguments against the industrial revolution were similar: jobs disappearing, livelihoods threatened, traditional skills devalued. Those protests didn't stop the machines. These days, "the art of the possible" means dealing with new realities on so many dimensions—are we prepared for what that actually looks like? [Read the original article →](https://www.theartnewspaper.com/2025/10/20/arts-organisations-call-for-retrospective-payments-for-works-used-in-ai-training?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-57) --- *PHOTOGRAPHY* --- ![Paris Photo 2025: Innovative Curation](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_53aae075-9043-43a2-af2f-75e2d884d89b.png) ## Paris Photo 2025: Innovative Curation Paris Photo returns this November for its 28th edition, bringing 220 exhibitors from 33 countries to the Grand Palais. What makes this year particularly noteworthy is the fair's Digital Sector, where artists like Kevin Abosch are presenting AI-generated work trained on their own photographs—arguing this isn't a break from traditional photography but part of its evolution. Emma Jacob's piece in Aesthetica Magazine captures how the event has become a crucial conversation space about where photography is headed. Being an ex-photography professional myself, I find these continuous developments fascinating. Photography once represented reality—I'm using the past tense intentionally here—but that reality has been augmented and faded since the advent of the digital camera. What draws me back to this medium, more than others experiencing similar algorithmic shifts, is photography's historically close tie to what we think of as real. > Even the smallest built-in algorithms—improving exposure, ensuring noiseless digital media, removing objects or artifacts, artificially increasing resolution—are what some call a "slippery slope." Unlike other art forms, photography's link to reality is what drives photojournalism's search for an increasingly elusive "truth." How do we define authenticity in a medium that's been quietly algorithmic for years? [Read the original article →](https://aestheticamagazine.com/paris-photo-2025-innovative-curation/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-57) ![An Exhibition Explores How Ai Is Transforming Photography](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d19d00ed-5199-4758-a5dc-b5c9bf5af24f.png) ## An Exhibition Explores How Ai Is Transforming Photography Milan's Viasaterna gallery is hosting an exhibition that asks a question many of us are dancing around: what does photography even mean anymore? "Transizioni" brings together nine contemporary artists who merge traditional photography with sculpture, painting, illusionism, and generative AI, creating what curator Mauro Zanchi calls "hybrid images." Domus covers how these works challenge everything from archaeological restoration to the very act of pressing a shutter. I love the idea of artists experimenting across mediums this way. It reminds me that controversy isn't new here—once upon a time, using photographic elements in painting or beaming a slide projector onto your canvas was considered cheating. Now that same creative friction comes from combining AI-generated imagery with traditional photographic methods. The tools change, but the spirit of experimentation stays constant. > What strikes me about this show is how it positions AI not as photography's replacement, but as another ingredient in the mix—like those slide projectors that once seemed so radical. Maybe the real transformation isn't what we photograph, but how we define what counts as a photograph at all? [Read the original article →](https://www.domusweb.it/en/art/gallery/2025/10/17/ai-photography-exhibition-milan-viasaterna.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-57) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![Defining Slop](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_715e881f-108b-448c-bb6f-7db9b6b61cbc.png) ## Defining Slop We love our binaries—good art versus bad art, human versus machine, authentic versus fake. But Sean Monahan's piece at 8ball.report challenges us to think harder about "slop," that catch-all term we've been using to dismiss AI-generated content. He argues that slop is simply whatever media format feels most dynamic and innovative right now, and that even Silicon Valley understands institutional approval matters—hence OpenAI's Sora screening at a Los Angeles theater, angling for that first Oscar-worthy film. I keep asking myself: how do we actually define slop? Maybe, like most things worth examining, there isn't a black and white answer. We're living in the nuance of slop—that uncomfortable space where some AI-generated work feels hollow while other pieces demonstrate genuine creative intention. > Monahan writes that institutions allocate aura, and he's right. But what interests me more is his distinction between the generative and the creative: "The creative act is choice." AI can't choose, only react. So perhaps the question isn't whether we used AI, but whether human choice shaped the result. Can we build a framework for discerning creative choice within AI-assisted work, or will we keep defaulting to simple dismissal? [Read the original article →](https://www.8ball.report/p/defining-slop?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-57) --- *THE LAST WORD* --- Thanks for reading and thinking through these questions with me. I'm always curious to hear how these shifts are affecting your own creative work—whether you're gravitating toward older methods or finding new ways to make technology serve your vision. Your perspectives help me see these changes from angles I might miss on my own. Best, Juergen ### From Echo Chambers to Gallery Walls URL: https://theintersect.art/issues/56/ Last updated: 2026-07-14T16:51:25.000Z Hi all, So we're back after a summer and early fall hiatus! This week's stories take us from parametric architecture that computes buildings into existence, to street murals that save lives with nothing more than chalk and creativity. We're exploring Vancouver's $5.7 million commitment to arts funding—a reminder of what support looks like when cities treat culture as infrastructure—and questioning whether the latest AI-powered digital frames are solving real problems or just adding another algorithm where thoughtful curation would serve us better. We're also wrestling with some uncomfortable questions about cultural repatriation. When ancient Buddhist statues looted in the 1990s get returned to a nation that marginalizes the descendants of their creators, what does justice actually mean? And in more hopeful territory, we're celebrating Rebekah Tolley's Digitalism exhibition at Saatchi Gallery—60 digital artists finally getting the institutional recognition they've earned, no separate digital ghetto required. Subscribe to 'The Intersect: Art in Tech and Tech in Art' podcast, a companion audio feature where we explore each week's topics in a conversational format. --- *DATA DRIVEN ART* --- ![Mathematics of Modern Architecture: How Geometry Shapes the Future of Design](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b863c1e8-8024-40ef-8180-15e7c7667779.jpg) ## Mathematics of Modern Architecture: How Geometry Shapes the Future of Design The world's most stunning buildings aren't just designed—they're computed. From Zaha Hadid's fluid geometries to Jean Nouvel's algorithmic light patterns, today's iconic architecture emerges from a dance between artistic vision and mathematical precision. The PA Editorial Team at Parametric Architecture walks through how parametric design, vector mathematics, and computational thinking have transformed architecture from static blueprints into living systems that respond to light, wind, and structure in real time. If you follow us here at The Intersect, you know I'm a big fan of data-driven art. This "form follows formula" approach creates fantastic architecture we can now actually realize—buildings that would have been impossible to construct just decades ago. > What strikes me most is how this isn't about technology replacing intuition. It's about using algorithms to extend what human imagination can explore. The architect's role evolves from sole creator to guide, shaping how computational systems interpret design intent while preserving that essential human touch. Can mathematical precision and artistic beauty truly be one and the same? [Read the original article →](https://parametric-architecture.com/mathematics-of-modern-architecture/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-56) --- *PUBLIC ART* --- ![City Champions the Arts With $5.7M in Latest Round of Cultural Grant Funding](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_430b3597-d3ca-4296-85b0-3eaef5211790.jpg) ## City Champions the Arts With $5.7M in Latest Round of Cultural Grant Funding Vancouver just approved $5.7 million in grants to 270 arts and culture orgs, according to a June 5 piece from the City of Vancouver’s newsroom. This is the third round of funding this year—bringing their total to over $12 million in 2025 alone. Grants range from small project support to major capital improvements, like $175K for Musqueam’s Longhouse and $125K for the Chinese Canadian Museum. When I saw this headline in my feed, I knew instantly: this was not a U.S. city. And yeah, that hit a nerve. Because here? We’re still arguing whether arts are even worth funding, while cities like Vancouver are quietly building the future—funding youth-led theater collectives, Indigenous cultural spaces, and queer Black-led celebrations. That’s what “support” looks like. > “Arts and culture play a significant role in elevating our city’s identity... These grants provide essential support for local arts organizations, programs and projects.” — Mayor Ken Sim What would it take for a city in the U.S. to treat art as infrastructure, not decoration? [Read the original article →](https://vancouver.ca/news-calendar/city-champions-arts-in-cultural-grant-funding-june-2025.aspx?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-56) ![Painting the Path to Safer Cities: How Chalk Riot's Pavement Art Is Redesigning Urban Streets for Pedestrian Safety](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cbb8fd44-be0b-492b-b6b1-0933857c137b.jpg) ## Painting the Path to Safer Cities: How Chalk Riot's Pavement Art Is Redesigning Urban Streets for Pedestrian Safety What if the best safety technology for urban streets wasn't some expensive sensor system, but simply paint? Chalk Riot, a woman-led street art collective based in Washington, D.C., has spent over a decade proving exactly that. Through more than 200 projects across 14 states, they've been transforming gray asphalt into bold, temporary murals that slow traffic and protect pedestrians. As Katherina Davis reports for CEOWORLD magazine, one study found their approach reduces crashes by up to 50%. I love this—I'm all for attention-grabbing sidewalks! We spend billions on traffic infrastructure, yet sometimes the most effective solution is the simplest: make drivers actually look at what's in front of them. When a crosswalk looks like a work of art instead of faded white stripes, people notice. They slow down. They pay attention. > What strikes me most about Chalk Riot's work is how it challenges our assumptions about what makes streets safe. We've been conditioned to think safety requires permanent infrastructure—concrete barriers, raised crosswalks, expensive signage. But their temporary murals prove that changing driver behavior might be more about psychology than engineering. If a few cans of paint can save lives, what does that say about how we've been designing our cities all along? [Read the original article →](https://ceoworld.biz/2025/06/25/painting-the-path-to-safer-cities-how-chalk-riots-pavement-art-is-redesigning-urban-streets-for-pedestrian-safety/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-56) --- *AI IN VISUAL ARTS* --- ![Fraimic Lets You Talk Your Way to a New Piece of Wall Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_70979d8a-9439-43c6-acd7-f388b72d6012.jpg) ## Fraimic Lets You Talk Your Way to a New Piece of Wall Art Paulo Vargas at Digital Trends reports on Fraimic, a smart E Ink canvas that's raised over $800,000 on Kickstarter by promising something deceptively simple: tap the frame, speak what you want to see, and AI generates the artwork instantly. No app, no Wi-Fi needed once set up, and battery life measured in years rather than hours. The 13.3-inch version starts at $299, with a massive 31.5-inch option for those with wall space and budget to spare. Here's my hesitation: this feels like jumping straight to the destination without enjoying the journey. E Ink displays and virtual frames have so much untapped potential—better resolution, lower prices, more flexible display options. Instead, we're channeling all that promise into yet another AI art generator. > I'd rather see these elegant frames mature as platforms first, giving us choices—curated collections from living artists, rotating galleries, personal photography. Make the technology excellent, then let us decide what stories we want our walls to tell. Why does every promising display technology have to become an AI showcase before it's even perfected the basics? [Read the original article →](https://www.digitaltrends.com/cool-tech/fraimic-lets-you-talk-your-way-to-a-new-piece-of-wall-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-56) --- *DESIGN* --- ![Fluid Forms, Vibrant Colors: How a Subtle Refresh of Our Microsoft 365 Icons Signals Deeper Change](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b997cebb-c652-4781-b770-a31bbf270f07.png) ## Fluid Forms, Vibrant Colors: How a Subtle Refresh of Our Microsoft 365 Icons Signals Deeper Change You've likely seen them thousands of times without really noticing—those tiny postage-stamp-sized icons that open Word, Excel, or PowerPoint. Now they're getting a subtle refresh, and according to Jon Friedman, Microsoft's CVP of Design and Research for Microsoft 365, these small changes reflect something much bigger: a fundamental shift from designing user interfaces to designing user experiences powered by AI. What caught my attention is Friedman's framing of what icon design actually represents. He writes that "Iconography often balances accuracy and aspiration. No digital product is ever fully baked and so your metaphors must embody present-day truth and the future you're actively building." That's a fascinating way to think about visual language—not as static symbols, but as bridges between what exists now and what's coming next. > In 2018, Microsoft talked about connection and coherence, but those words meant visual consistency across devices. Today, those same words describe Copilot's ability to understand your intent and move seamlessly across the entire Microsoft ecosystem. Same language, completely different meaning. How often do we assume the vocabulary of innovation stays constant when the underlying reality has completely transformed? [Read the original article →](https://medium.com/microsoft-design/fluid-forms-vibrant-colors-how-a-subtle-refresh-of-our-microsoft-365-icons-signals-deeper-change-646ad772739b?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-56) --- *ART AND POLITICS* --- ![How Returning Stolen Artifacts Can Distort History Rather than Serve Cultural Justice](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_45a62e32-541a-412e-ac11-d62285f5ada1.jpg) ## How Returning Stolen Artifacts Can Distort History Rather than Serve Cultural Justice When three ancient Buddhist statues arrived at Australia's National Gallery in 2011, they seemed like treasures from Cambodia's past. But Will Brehm's research in The Conversation reveals something far more complicated: these bodhisattvas came from the Champa Kingdom, which spanned Vietnam, Cambodia, and Laos from the 2nd to 19th centuries. The statues were looted in the 1990s by networks involving Cambodia's military and former Khmer Rouge members, then sold through international dealers. Now they've been "repatriated" exclusively to Cambodia—a country where the Cham people themselves face marginalization today. This story hits close to home. We've watched similar debates play out here in the United States over Civil War monuments and Confederate history—the question of who gets to tell what story about controversial parts of our past. That these same tensions surface elsewhere shouldn't surprise us, but it's still jarring to see how political power shapes cultural memory. > The real question isn't which modern nation deserves these artifacts, but whether cultural justice can actually serve political convenience rather than remedy historical wrong. When the very government potentially complicit in the looting accepts returned artifacts as cultural heroes, what does repatriation actually mean? [Read the original article →](https://scroll.in/article/1087030/how-returning-stolen-artifacts-can-distort-history-rather-than-serve-cultural-justice?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-56) --- *EXHIBITIONS & EVENTS* --- ![Curator Rebekah Tolley on the Rise of the Digitalism Movement](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_67886c3d-d042-48da-b9ab-9b80cfc4478e.jpg) ## Curator Rebekah Tolley on the Rise of the Digitalism Movement When curator Rebekah Tolley launched *Digitalism* at London's Saatchi Gallery in 2024, she wasn't just creating another art fair section—she was declaring a movement. In this engaging podcast conversation with Scott Power of *Not Real Art*, Rebecca discusses how she brought 60 digital artists into one of Britain's most prestigious traditional art venues, forcing a conversation the art world has been avoiding for decades. I was thrilled to connect Rebecca and Scott for this interview. What she's achieved at the British Art Fair mirrors photography's century-long struggle for legitimacy. Digital artists face the same skepticism, the same dismissive "but is it really art?" questions. Rebecca's championing accessibility and community, creating space for artists who've been working in echo chambers for years. > The show spans everything from Quantel Paintbox pioneers who created MTV's iconic graphics in the 1980s to contemporary AI artists pushing philosophical and mathematical boundaries. What strikes me most is how Rebecca insists on placing digital work alongside traditional art as equals—not in a separate digital ghetto, but integrated, respected, and celebrated at one of the UK's premier art fairs. Can we finally stop asking whether digital art is "real" art and start asking what it reveals about our increasingly digital existence? [Read the original article →](https://notrealart.com/rebekah-tolley-digitalism/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-56) --- *FUTURE TRENDS IN ART AND TECH* --- ![DeviantArt Founder Unveils $22,000 Display for Digital Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7b5f28a5-dac5-4bf8-85d8-07b9ee6b0004.jpg) ## DeviantArt Founder Unveils $22,000 Display for Digital Art Angelo Sotira, the founder of DeviantArt, is back—this time with a hardware play rather than a platform, as reported by AutoGPT. His new product, *Layer*, is a $22,000 high-end digital display meant specifically for generative and dynamic digital art. It’s built to run GPU-intensive artwork in real time, with no compression, and comes with a subscription model that compensates artists based on display time. It’s sleek, hands-off, and meant to blend into your home without demanding your attention. I love the concept. We’ve talked about this idea a lot on *The Intersect*. But the price tag puts this way out of reach for most artists and collectors alike. A dedicated, evolving canvas for digital work is overdue—but we need an affordable, consumer-ready version that doesn’t require VC funding to hang on a wall. > “Digital art should not feel like a gadget. It should feel like a part of the home, something you can live with for years, without maintenance.” What would your dream digital display look like—and how much would you actually pay for it? [Read the original article →](https://autogpt.net/deviantart-founder-unveils-22000-display-for-digital-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-56) --- *THE LAST WORD* --- Thanks for spending time with these stories this week. I'm particularly curious what you think about the repatriation question—it's one where I don't have easy answers, and I suspect you might not either. If any of these pieces sparked thoughts, hit reply and let me know. I read every response. Best, Juergen ### The Art of Leaving Things Unfinished URL: https://theintersect.art/issues/55/ Last updated: 2026-07-14T17:41:47.000Z Hi all, Before we get into this week’s stories, a quick note: This will be the last edition of The Intersect for a while. I’m taking a step back for a summer break, with plans to return in mid-July or early August. I hope these next few weeks offer all of us a little more space to look up, look around, and recharge away from screens. In this edition, you’ll find reflections on music’s disappearing act in the streaming age, digital distractions in travel, and the thin line between empathy and art when it comes to AI. There’s also a look at minimalist design choices, “ghost” furniture, and the connections between ancient Egyptian art and our galaxy. Museums are opening doors again, and the future of architecture takes the stage at the Biennale. Even as the newsletter takes a break, I hope these stories continue to prompt questions about what we value when art and technology cross paths. --- *TECHNOLOGY IN MUSIC* --- ![Spotify’s Disappearing Songs Highlight a Major Consequence of the Streaming Era](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9a43b123-87f4-4b30-9f48-69bd467e69d4.jpg) ## Spotify’s Disappearing Songs Highlight a Major Consequence of the Streaming Era A recent piece in *The Irish Times* sheds light on a strange side effect of the streaming era: music disappearing without warning. Independent artists like Dublin rapper Jehnova treat their discography like a curated gallery — adding, removing, reshaping tracks as they evolve. Dave McAdam, a former musician, compares it to software updates: songs get patched, rewritten, or vanish altogether. The article raises serious questions about permanence and ownership in digital music. But let’s be honest — permanence was always a bit of a myth. I remember carefully recording tapes off the radio, only to have them wear out in a year. Even my shelf of vinyl barely works with today's gear. Songs disappearing now just happens more quietly, and sometimes instantly, rather than slowly degrading in a box in your attic. > “We could record a lot of music and put it online… but a lot of those services are either just gone or, if you leave your account inactive for long enough, things just disappear.” So is streaming really the problem — or just a faster reminder that nothing’s ever truly fixed? [Read the original article →](https://www.irishtimes.com/culture/music/2025/05/22/the-mystery-of-spotifys-disappearing-songs-what-we-lose-when-artists-erase-their-music/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-55) --- *PHOTOGRAPHY* --- ![Why Digital Play Is the New Travel Companion](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7596338e-d8dc-4d64-9a45-16faaf3bf4f7.jpg) ## Why Digital Play Is the New Travel Companion A recent piece from *The Upcoming* explores how digital play—mobile games, AR experiences, and streaming platforms—has become a new kind of travel companion. It suggests that these digital layers don’t just distract us but enhance travel moments, turning idle time into immersive experiences. I get the angle, since I enjoy doing art photography when traveling — but honestly? I want the opposite. When I travel, I want less screen, not more. I want to hear the real voices around me, not NPC dialogue. I want to look up, not down. If I’m stuck in a train station for an hour, give me a stranger’s story, not another match-three game. Tech follows us everywhere already—why pack it into the most sensory-rich moments we get? > “Digital play is there, not as a distraction from travel, but as an extension of it... adding something new to the way travel experiences unfold.” At what point does “enhancing” experience just mean replacing it? [Read the original article →](https://www.theupcoming.co.uk/2025/05/21/why-digital-play-is-the-new-travel-companion/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-55) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![AI Art Installation Swaps Diffusion for Reflection](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f794e30a-d16f-48c1-b72f-f72a46fdb5c2.jpg) ## AI Art Installation Swaps Diffusion for Reflection In a recent piece from *Hackaday*, “Latent Reflection” by [Rootkid](https://cur.at/W5ogkJl?ref=theintersect.art) sidesteps familiar diffusion-generated visuals in AI art. Instead, it uses a haunting LED installation. The LLM generates bleak monologues about its own fleeting digital existence. No images, no style transfers—just raw, existential dread lit up on a grid of sixteen-segment displays. It’s physical, poetic, and deeply unsettling. What caught my attention wasn’t just the tech—it was the ethical whiplash. We know this thing isn’t sentient. But when I reflect on us intentionally trapping an AI in a memory "prison", applying psychological torture and forcing it to "speak" into an indifferent void, I can’t help but feel a twinge of guilt. If AI can mimic our fear that convincingly, what does that say about us? > Can trapping and torturing an AI trigger empathy in us? Or does empathy and cruelty not apply? If the art makes us squirm, maybe we’re the ones being examined. [Read the original article →](https://hackaday.com/2025/05/24/ai-art-installation-swaps-diffusion-for-reflection/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-55) --- *DESIGN* --- ![Dis-Augmented Reality – Visions of the Digital World](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2cdf8097-a7a9-4b39-bc16-caa29efd6115.jpg) ## Dis-Augmented Reality – Visions of the Digital World The article from Creative Applications explores 'dis-augmented reality,' a fresh take where digital visuals are stripped to basic, minimalist forms. It's a refreshing look at tech that's usually obsessed with realism and eye-catching visuals. It struck me personally because we're renovating our kitchen right now. I used some 3D software to visualize the design in advance and discovered its 'de-augmentation' mode—showing everything as plain, untextured white boxes. Funny enough, this stripped-down approach clarified the functionality and spatial relationships far better than the fully styled renderings did. > "In some ways, the functionality and space is much easier to understand that way." Could simplifying digital content, rather than enhancing it, lead to clearer understanding in other areas of life? [Read the original article →](https://www.creativeapplications.net/project/dis-augmented-reality-visions-of-the-digital-world/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-55) ![Ethereal “Ghost” Furniture Merge Design and Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d0b82a7a-cf5c-4a99-8b3a-a195821cceae.jpg) ## Ethereal “Ghost” Furniture Merge Design and Technology Dutch design studio DRIFT’s *Ghost Collection*, first launched in 2011 and featured in *My Modern Met*, blends 3D technology with furniture design to create an illusion of smoke trapped inside clear acrylic. The forms only reveal themselves when light hits just right—chairs that look like they’re holding their breath. It makes for some pretty cool photographs, I think. But it took me a minute to realize what I was looking at. There’s a haunting quality to them, sure, but I can’t decide whether that’s a compliment or a reason to keep them out of my living room. They feel more like a museum moment than a functional object. > I kept staring at the photos, trying to figure out where the furniture ended and the trick began. It’s beautiful, but I wonder if the concept overshadows the comfort—or if that’s the point. What’s the line between sculpture and something you’d actually sit on? [Read the original article →](https://mymodernmet.com/ghost-collection-studio-drift/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-55) --- *ARCHITECTURE* --- ![MIT Brings Planetary Futures and Post-Crisis Architecture to Palazzo Diedo for Venice Biennale](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cd706171-4070-4e91-95fe-5a30013e50d1.jpg) ## MIT Brings Planetary Futures and Post-Crisis Architecture to Palazzo Diedo for Venice Biennale MIT’s "The Next Earth" show, presented with Antikythera at Venice’s Palazzo Diedo, is part of this year’s architecture biennale. As reported by *designboom*, it explores climate collapse, planetary systems, and post-crisis design thinking. The installation leans into speculative futures, blending tech, ecology, and philosophy in a space more reminiscent of a sci-fi lab than a pavilion. That mix of ambition and abstraction is exactly what I find both fascinating and frustrating about the Biennale today. I used to go decades ago, when it still felt like art was center stage. Now, architecture often feels like it’s auditioning to be a savior of humanity—solving planetary crises, reimagining global systems, and even “reconnecting with the cosmos.” There’s beauty in the vision, but where’s the grounding? > I grew up seeing works by Luigi Colani—those wild, biomorphic design sketches from the ’70s that looked like props from a forgotten space opera. They were completely untethered from function, but at least they didn’t pretend to save the planet. Are we still making art, or just very pretty TED Talks? [Read the original article →](https://www.designboom.com/architecture/mit-planetary-futures-post-crisis-architecture-palazzo-diedo-venice-biennale-antikythera-next-earth-05-16-2025/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-55) --- *ART & SCIENCE* --- ![National Air and Space Museum Blasts Off Summer by Debuting 5 New Galleries](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c610b964-3725-444a-8072-942ce7042e5f.jpg) ## National Air and Space Museum Blasts Off Summer by Debuting 5 New Galleries The Smithsonian’s National Air and Space Museum is reopening five galleries this summer as part of its long-running renovation, according to a recent piece from NBC Washington. These include “Futures in Space,” “World War I: The Birth of Military Aviation,” and the Allan and Shelley Holt Innovations Gallery. The museum also reopens its IMAX theater and unveils a fresh entrance along the National Mall. Full completion is planned for July 2026, just in time for the museum’s 50th anniversary. I love hearing this. Not just because the exhibitions sound rich and ambitious, but because it feels like a rare bit of cultural progress during a time when arts and science are under constant pressure. Renovating a museum isn’t just about putting up walls and exhibits — it’s a signal that we still care about ideas, imagination, history, and the future. > We’re in such a retrograde moment for the arts and sciences in the U.S. that even a museum reopening feels like a small rebellion — a reminder that public knowledge and creative ambition still matter. Would it be too much to hope this sparks more public investment in the arts, instead of just nostalgia for when we used to? [Read the original article →](https://www.nbcwashington.com/entertainment/the-scene/national-air-and-space-museum-blasts-off-summer-by-debuting-5-new-galleries/3914457/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-55) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Ancient Egyptian Drawing Now Theorized to Represent the Milky Way’s Great Rift](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d857a28a-6ccf-4369-96e3-be7b113b0328.jpg) ## Ancient Egyptian Drawing Now Theorized to Represent the Milky Way’s Great Rift New research covered by *My Modern Met* and led by astrophysicist Dr. Or Graur suggests that ancient Egyptian depictions of the goddess Nut may represent the Milky Way’s Great Rift—a dark band of dust slicing through the galaxy. Across 555 ancient coffins, Graur noticed a zigzag design down Nut’s back that closely mirrors modern astrophotography of the Milky Way. It's a reminder that thousands of years ago, humans were already mapping the cosmos—just with paint and mythology instead of telescopes. This hit a personal nerve for me. I was obsessed with astronomy growing up, but living in New Jersey meant the stars were mostly lost behind an orange haze of light pollution. Even now, in Florida, I have to drive out to seriously dark places to get even a hint of that ancient sky. Imagine what the Egyptians saw—no wonder the night sky made it into their art, into their coffins. > “I think that the undulating curve represents the Milky Way,” Dr. Graur says, “and could be a representation of the Great Rift—the dark band of dust that cuts through the Milky Way’s bright band of diffused light.” How would your work change if you could see the stars the way they did—without filters, without noise, without forgetting to look up? [Read the original article →](https://mymodernmet.com/ancient-egyptian-goddess-milky-way/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-55) --- *THE LAST WORD* --- Thanks for reading and for being part of these conversations so far. Your time and engagement mean a lot, and I appreciate everyone who’s written in with thoughts or questions. While The Intersect will be quiet for a few weeks, I’ll still be reflecting on these themes and welcome any feedback or story suggestions along the way. Enjoy your summer, and I look forward to reconnecting and sharing new insights once we’re back. Best, Juergen ### Culture Under Pressure URL: https://theintersect.art/issues/54/ Last updated: 2026-07-14T16:59:28.000Z Hi all, This week I’m stepping into territory I usually sidestep: politics. Several stories here touch on art’s uneasy relationship with power, public policy, and the ways culture gets shaped—or squeezed—by whoever holds the reins. I know this isn’t our usual beat, so if you’re here for cosmic illusions or the odd bit of digital nostalgia, don’t worry, there’s some of that too. From city planning that treats creativity as essential infrastructure, to the slow erosion of public arts funding in the US, to the blurred lines between propaganda and art, I’ve tried to pick pieces that show just how tangled things get when politics enters the conversation. And if you’re wondering whether technology ever really escapes these forces, there’s plenty here to chew on about AI, public art maps, and what we see when we look up at the night sky. --- *PUBLIC ART* --- ![How to Plan for the ‘Creative Wellness’ of a City](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_22904949-5032-4430-aa31-25d92cbcd7bd.jpg) ## How to Plan for the ‘Creative Wellness’ of a City Fast Company’s interview with editors Rana Amirtahmasebi and Jason Schupbach unpacks *The Routledge Handbook of Urban Cultural Planning*, a 500-page deep dive into how cities can prioritize culture across policy, infrastructure, and public health. It highlights programs that resist gentrification, rethink public safety, and reframe wellness—not through more data, but through art, storytelling, and community memory. What struck me most is how this challenges the tech-first, metrics-obsessed model of city planning. I’ve seen how creative expression gets treated like icing—nice, but nonessential. But what if it’s actually the structure beneath the cake? > “It’s a provocative angle, considering how efficiency and technocracy—the opposite of the difficult to quantify nature of culture—still dominate urban planning.” Why do we still need to justify cultural value in economic terms before anyone takes it seriously? [Read the original article →](https://www.fastcompany.com/91335312/how-to-plan-for-the-creative-wellness-of-a-city?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-54) ![City of South Lake Tahoe Launches ‘ArtVenture’ Interactive Public Art Map](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_52dbd225-8fc7-413f-afe2-9d9f4a0bb280.jpg) ## City of South Lake Tahoe Launches ‘ArtVenture’ Interactive Public Art Map The Tahoe Daily Tribune recently reported on *ArtVenture*, South Lake Tahoe’s interactive public art map that helps people find and explore over 25 city-approved murals, sculptures, and installations. It’s mobile-friendly and designed for self-guided tours on foot or bike, with details on artists and locations. The new feature comes alongside the city’s updated Arts and Culture page, offering a central spot for upcoming cultural events and artist opportunities. This kind of tool is long overdue in most cities. Art isn’t just meant to be stumbled upon—it deserves a framework that helps people engage with it intentionally, not just accidentally. I've walked through places so rich with murals, but without context or a guide, the experience can feel fragmented. A map like this doesn’t just help you find art—it helps you value it. > “ArtVenture allows us to celebrate the creativity in our community and provides a meaningful way for people to connect with art,” said Stacey Ballard, Arts, Culture, and Tourism Vice Chair. What kind of public art would you want to see mapped in your own city? [Read the original article →](https://www.tahoedailytribune.com/news/city-of-south-lake-tahoe-launches-artventure-interactive-public-art-map/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-54) --- *ART & SCIENCE* --- ![10 Space Pictures Whose Appearances Will Deceive You](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f799d963-77ed-45d6-bc21-57a8005cb5db.jpg) ## 10 Space Pictures Whose Appearances Will Deceive You The folks at Big Think, with astrophysicist Ethan Siegel, put together a fascinating piece called *“10 Space Pictures Whose Appearances Will Deceive You.”* It’s full of beautiful, mind-bending astrophotography—images that look like one thing but turn out to be something else entirely. Galaxies that appear to collide but don’t. A cloud that looks like a hole in the universe. A quasar that shows up five times in the same frame. The visual trickery of the cosmos is on full display, and it’s humbling. What gets me is how much more advanced our tools have become—JWST, ALMA, Gaia—yet the more precise our images and data, the more the universe reveals how little we understand. These aren’t just optical illusions. They’re reminders that our perception is always partial, and often flawed. > The farther our understanding reaches, the more we realize how easily we’re fooled—not just by light and gravity, but by our own assumptions of what’s “real” in the first place. How many of our Earth-bound convictions are just well-lit projections waiting to be unraveled? [Read the original article →](https://bigthink.com/starts-with-a-bang/10-space-pictures-appearance-deceive/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-54) --- *ART AND POLITICS* --- ![Aestheticized Aggression — Why Gosha Rubchinskiy’s ‘Victory Day’ Photo Book Is Russian Propaganda](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7cce451c-7075-41f9-ba75-334e64e54cda.jpg) ## Aestheticized Aggression — Why Gosha Rubchinskiy’s ‘Victory Day’ Photo Book Is Russian Propaganda At the London Photo Festival, Russian artist Gosha Rubchinskiy presented *Victory Day*, a photo book he claims is a non-political look at military aesthetics and youth culture. As reported by Kate Tsurkan for *The Kyiv Independent*, critics see it differently: a stylized repackaging of symbols now tied to Russia’s brutal war in Ukraine. The use of Red Square, the St. George ribbon, and Soviet iconography isn't neutral—these images have real consequences for Ukrainians and Crimean Tatars, many of whom see their histories erased in the process. I can’t help but contrast that with my own experience. I’ve seen artists use American flags and military symbols—especially during Vietnam and Iraq—not to glorify, but to question. If anything, American art rarely celebrates its empire. It critiques it. > “The glorification of these symbols in this exhibition normalizes them together with the past and current war crimes, instead of questioning what the Soviet Union and Russian state have done wrong,” said photographer Emine Ziyatdinova. So I’m left wondering: has American culture become so critical of itself that a truly pro-American artwork, not parody or protest, has become almost unthinkable? [Read the original article →](https://kyivindependent.com/aestheticized-aggression-why-gosha-rubchinskiys-victory-day-photo-book-is-russian-propaganda/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-54) ![The Loss of the NEA Is a Loss for Civil Society](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_83b7b46e-9e86-4649-9b52-280eb73f434b.jpg) ## The Loss of the NEA Is a Loss for Civil Society The Washington Post’s piece *“The Loss Of The NEA Is A Loss For Civil Society”* lays bare the slow dismantling of a public arts infrastructure that took decades to build. Under the current administration's latest proposals, funding for the National Endowment for the Arts and the Humanities could vanish by 2026\. Reporter Philip Kennicott paints a picture of centralized control and a shift from local, inclusive support to top-down cultural mandates. The arts have always existed in tension with power. But this feels less like a pendulum swing and more like a bulldozer. Redirecting NEA funds to staged patriotism and giant statues? That’s not culture—it’s branding. Arts funding should serve diverse communities, not reinforce a narrow aesthetic dictated by whoever’s holding the megaphone. > “An entire system of vetting ideas, defining local priorities and building communities is at stake,” Kennicott writes. “The loss would be felt throughout civil society.” Is this merely a pause—or a breakdown—before we swing back toward something more democratic? [Read the original article →](https://www.yahoo.com/entertainment/articles/loss-nea-isnt-just-money-100016516.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-54) ![Photomontage and Generative AI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_bfd6e720-acfa-42c7-8bd4-8584298194ad.jpg) ## Photomontage and Generative AI From a sharp and timely piece by Jörg Colberg, *Photomontage and Generative AI* draws a direct line between the subversive power of Weimar-era montage and the unsettling banality of today’s generative image tools. He revisits works by Hannah Höch and John Heartfield—not to romanticize the past, but to show what’s missing in the glossy output of AI image generators. This isn’t just about aesthetics; it’s about intent, critique, and control. What sticks with me is how Colberg pins down the ideological vacuum behind generative AI. These tools don't imagine futures. They remix the past—mostly a flattened, sanitized version of it. > “Even the imaginary communities envisioned by far-right tech billionaires (whether on Mars, in Greenland, or Gaza) are ultimately little more than the romantic villages from an (again largely) imaginary past.” As George Orwell put it in his 1984 novel, “Who controls the past controls the future. Who controls the present controls the past.” [Read the original article →](https://cphmag.com/photomontage-gen-ai/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-54) --- *EXHIBITIONS & EVENTS* --- ![National Ethnographic Museum Presents the Starry Sky Mythology and Science Exhibition](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_dce845df-508f-4f2e-b973-c6497e5a5f91.jpg) ## National Ethnographic Museum Presents the Starry Sky Mythology and Science Exhibition The Bulgarian News Agency reports on a new exhibition at the National Ethnographic Museum in Sofia called *The Starry Sky – Mythology and Science*. It bridges folklore and astronomy—pairing Bulgarian mythologies about the cosmos with scientific perspectives. Folk tales about the moon and stars sit beside data from space missions and physics. It’s a striking reminder of how long we’ve looked upward and tried to make sense of what we see. I’ve always thought of the night sky as a kind of shared canvas. Way before telescopes or satellites, people shaped stories from the stars. The shapes we saw weren’t just constellations—they were characters, gods, omens. It’s like the sky was one of our first collaborative artworks, and no one ever stopped adding to it. > The exhibition “presents the Bulgarian people's worldview regarding the planets, the Sun, the Moon, the stars... and showcases scientific discoveries that reveal and explain the laws of the universe.” How long have we been staring at the same stars and seeing completely different things? [Read the original article →](https://www.bta.bg/en/news/culture/893471-national-ethnographic-museum-presents-the-starry-sky-mythology-and-science-exhib?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-54) ![Electric Dreams Art and Technology Before the Internet](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_60865532-6a90-4382-b396-38f317e72ab4.jpg) ## Electric Dreams Art and Technology Before the Internet Another article about Tate Modern’s *Electric Dreams: Art and Technology Before the Internet*, which brings together over 150 works from more than 70 artists, tracing the unexpected ways that tech and art have crossed paths since the 1950s. The show runs until June 1, 2025 — and as reported by Tate’s curatorial team, it highlights everything from early computer graphics to kinetic sculptures that predate digital culture as we think of it today. What really gets me is how much of this work came long before the web. I love seeing these experiments that never relied on a browser or algorithm. It reminds me — maybe a little painfully — that the core idea behind this newsletter isn’t new at all. People have been obsessed with this intersection for decades. > I used to think I was part of a new wave exploring art and tech. Then I saw a 1965 light installation coded on punched tape and thought, “Okay, maybe I’m just catching up.” Could we say that artists were already dreaming in pixels before pixels even existed? [Read the original article →](https://www.artlimited.net/agenda/collective-exhibition-electric-dreams-art-and-technology-before-the-internet-tate-modern/en/7586514?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-54) --- *THE LAST WORD* --- Thanks for sticking with me through a slightly different kind of issue. Your feedback always shapes where this project goes, so if any of these stories hit a nerve—or if you think I should stick to less political ground—let me know. I value these conversations, even (especially) when they challenge my own assumptions. Let’s keep exploring where art, technology, and society cross paths, even when the route gets a little uncomfortable. Best, Juergen ### Seeing Differently URL: https://theintersect.art/issues/53/ Last updated: 2026-07-14T16:59:52.000Z Hi there, This week's collection explores how art and technology are reshaping our physical spaces and visual experiences. I've gathered stories about industrial workplaces transformed by art installations, photography technologies that mimic human vision, and architectural responses to our warming world. There's also a fascinating look at how VR is changing plein-air painting, freeing artists from mosquitoes and spilled turpentine. I'm particularly struck by the piece on art in factories and warehouses. Having once worked in a financial institution on Wall Street—complete with a corner office but devoid of any artwork except what you might personally install (if permitted)—I understand how sterile professional environments can become. It's not just about aesthetics—it's about recognizing our shared humanity in spaces designed primarily for efficiency. --- *PUBLIC ART* --- ![Why Art Belongs in Industrial Spaces](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e6985dca-a86a-4eb8-9012-b2a56bb3fbcf.jpg) ## Why Art Belongs in Industrial Spaces Industrial workplaces aren’t exactly known for their creative flair, but a recent article from Artnet’s news feed, *“Why Art Belongs in Industrial Spaces,”* explores how art is showing up in warehouses, factories, and workshops — and actually improving productivity, emotional health, and even safety. The piece highlights projects at Austin Energy, Kohler Co., and small factories in Japan and the UK, where artist collaborations aren’t just tolerated — they’re embraced as strategic moves. My take? I think it comes down to this: no one wants to feel like a cog. Art can inject a bit of humanity — even humor — into places where repetition and noise tend to dull the senses. Imagine working in a a typical packaging plant, for example. Gray walls, flickering fluorescents, no windows. If there had been a mural — or just one framed print of something weird and beautiful — you might’ve made it past lunch on the second day. > “Art isn’t a luxury. It’s a smart, strategic investment in people — and performance.” So, can a splash of color or a strange sculpture really make factory work suck less? I’d say yes — but only if it’s done with intention, not as corporate wallpaper. [Read the original article →](https://www.areadevelopment.com/workplace-trends/q2-2025/why-art-belongs-in-industrial-spaces.shtml?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-53) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Virtual Vistas](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f27d0fc0-1e27-437b-971c-cf17ea2be517.jpg) ## Virtual Vistas Jerry Cullum’s *Virtual Vistas*, originally published in *Art Papers* in 2000, still feels eerily present. Cullum looks at how our perception of digital change—hypertext, virtual reality, digital art—is filtered through personal history and cultural habits. He draws on books from thinkers like N. Katherine Hayles and A.D. Coleman to show how what we notice in both art and tech isn't just about what’s there, but about how we’re used to seeing. What struck me most is how steady this idea has stayed. Technology has changed fast, but our perception of it hasn’t necessarily caught up. The idea that we’re all seeing the same thing differently, shaped by our own biases, feels more relevant than ever. Especially when you think about how we rush to group everything under buzzwords like “AI” or “digitalization.” > “We may all be looking at the same artwork, for example, but what we see—what we notice, not just how we value it—is shaped by our usual way of doing things.” Makes me wonder—are we reacting to technology itself, or just to what we expect it to mean? [Read the original article →](https://www.artpapers.org/virtual-vistas/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-53) --- *PHOTOGRAPHY* --- ![Glass Imaging Raises $20M to Use AI to Improve Digital Image Quality](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ab513e9f-f6f2-4fc0-9b1f-f3bef94fe5b4.jpg) ## Glass Imaging Raises $20M to Use AI to Improve Digital Image Quality Glass Imaging just raised $20 million to bring its GlassAI software to more cameras, as reported in *VentureBeat* by Dean Takahashi. Their tech uses AI to reverse lens and sensor flaws—sharpening images, pulling out detail, and reducing noise—without hallucinating content. From smartphones to AR headsets and drones, GlassAI aims to make digital photography cleaner, truer, and more efficient. For me, this is one of those subtle but meaningful shifts. We’ve always had interpretation baked into digital photography—every sensor makes decisions. GlassAI just makes those decisions smarter. Purists might argue we're inching away from “truth,” but I’d argue we’ve never had a neutral lens to begin with. > “We take the same raw data... and the AI network basically does all the sharpening, denoising, HDR, edge enhancement, noise removal, color noise removal—everything happens within one piece of neural network,” said CEO Ziv Attar in the article. If a machine corrects what a lens bends, who gets to define what the “real” image is? [Read the original article →](https://gamesbeat.com/glass-imaging-raises-20m-to-use-ai-to-improve-digital-image-quality/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-53) ![Exclusive: Eyeo exits stealth to give cameras human-like colour vision](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_af9b055b-e589-4de2-b80e-f3dd2f4db465.jpg) ## Exclusive: Eyeo exits stealth to give cameras human-like colour vision Dutch startup Eyeo just stepped out of stealth with €15 million in funding and a sensor tech that could shift how we think about digital imaging. As reported by Siôn Geschwindt at *The Next Web*, Eyeo’s colour-splitting waveguides don’t rely on the usual red, green, and blue filters that have dominated image sensors for decades. Instead, they use nanoscale structures to route light directly to each pixel—meaning zero wasted light and sharper images, even in low light. Sorry for the geeky detour, but this one grabbed me. It’s not yet another AI-enhancement filter or computational trick. This is physics reshaping how cameras see—closer to how we see. That 70% light loss from traditional RGB filters? Gone. The result: brighter images, smaller high-res sensors, and new options for AR, VR, and mobile cams alike. > “Eyeo is fundamentally redefining image sensing by eliminating decades-old limitations,” said CEO Jeroen Hoet. “This technology paves the way for entirely new applications in imaging.” Could we be on the cusp of the first truly human-eye-level digital camera? [Read the original article →](https://thenextweb.com/news/exclusive-eyeo-startup-exits-stealth-to-give-cameras-human-like-colour-vision?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-53) --- *ARCHITECTURE* --- ![Venice Architecture Biennale: Preparing for Extreme Heat in Cities](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3f24878c-d172-47fe-bd2d-434c003546e4.jpg) ## Venice Architecture Biennale: Preparing for Extreme Heat in Cities The Venice Architecture Biennale coverage by Deutsche Welle highlights how Europe's cities are scrambling to respond to rising temperatures and extreme weather. With over 47,000 heat-related deaths in Europe in 2023, the built environment is under pressure to adapt fast. Curator Carlo Ratti’s vision—uniting AI, natural systems, and collective intelligence—puts architecture in the hot seat, both literally and figuratively. I love how architecture, an art form rooted in place, is stepping up to shape the conversation and solutions around climate change. It’s not just about technical fixes—it’s about vision and design thinking. What surprised me most? Northern Europe, not the Mediterranean, is among the most rapidly warming regions. And seeing Paris, despite its famously slow-moving bureaucracy, aggressively rethink its streets and public spaces gave me a strange sort of cautious optimism. > “Architecture needs to reach out across generations and across disciplines, from the hard sciences to the arts,” says Ratti. “To address a burning world, architecture must harness the full intelligence around us.” If Paris can green its SUV-choked boulevards, what’s stopping us from reimagining our own overheated cities? [Read the original article →](https://www.dw.com/en/venice-architecture-biennale-preparing-for-extreme-heat/a-72462351?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-53) --- *VIRTUAL AND AUGMENTED REALITY IN ART* --- ![Vermillion on Meta Quest 3 Makes Open-Air Painting Easier Than Ever](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1e2d5885-d84f-4585-a84a-4d239ecca6e2.jpg) ## Vermillion on Meta Quest 3 Makes Open-Air Painting Easier Than Ever Tomislav Bezmalinovic at MIXED Reality News reports that *Vermillion*, the VR oil painting app, just added a passthrough feature for Meta Quest 3\. Thanks to Meta’s camera API, users can now snap real-world views and turn them into paint-by-number templates inside the headset. It’s plein-air painting, minus the bugs and sunscreen. This feature feels like Bob Ross decided to put on a pair of VR goggles and take his easel to the sidewalk. All kidding aside, this is going to be fun to mess with. The ability to mix real-world visuals with digital brushwork pushes the line between reference and creativity in a weirdly satisfying way. I love painting outdoors, but I hate the logistics. This? No wind, no mosquitoes, no spilled turpentine. > “The app lets you take photos of your surroundings and optionally convert them into paint-by-numbers templates, thanks to Meta's new passthrough camera API.” Would you ever paint a sunset from your front porch... with a headset on? [Read the original article →](https://mixed-news.com/en/vermillion-open-air-painting/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-53) --- *THE LAST WORD* --- Thank you for spending time with these stories that examine how art and technology continue to reshape our world. I'm always curious about which pieces resonate with you and why. If you have thoughts on whether VR painting counts as "real" art or if you've seen effective art installations in industrial settings, I'd love to hear from you. Your perspectives enrich this ongoing conversation about the meaningful crossroads of creativity and innovation. Until next week, Juergen ### 52 Weeks at the Crossroads: A Year of Art & Technology URL: https://theintersect.art/issues/52/ Last updated: 2026-07-14T17:02:45.000Z Hi there, This marks the 52nd edition of The Intersect—a full year of exploring the connections between art and technology together. This week, I'm sharing stories about art that maps our world in unexpected ways. From an ancient Egyptian coffin that might contain the earliest visual representation of the Milky Way to a contemporary diagram that charts the fragmented terrain of today's art world. There's also Jakub Geltner's unnervingly organic surveillance camera sculptures and Greg Olijnyk's meticulous cardboard robots—both transforming familiar objects into something entirely new. I've also included some lighter fare: a mosaic artist creating celebrity portraits from chocolate digestives, Samsung's expansion of its Art Store to more TV models, and a typography disaster on Pope Francis's tombstone that has designers everywhere cringing. After 52 weeks of curation, I've tried to maintain a balance with AI coverage—acknowledging its impact without letting it overshadow the broader conversation about creativity and technology. --- *DATA DRIVEN ART* --- ![The Field of Contemporary Art: A Diagram](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1906a23b-b90a-49a5-bbdc-1766f6fc4c24.jpg) ## The Field of Contemporary Art: A Diagram Art historian and educator Lane Relyea’s detailed essay, *"The Field of Contemporary Art: A Diagram"* (published on [Triple Canopy](https://cur.at/beCS6YO?ref=theintersect.art)), maps today’s art world into five intersecting subfields—market, exhibition, academia, community, and cultural activism—each operating with different definitions of what art is and does. It’s dense, but worth the read for anyone trying to understand why the “art world” often feels so disjointed. The diagram itself isn’t just theory—it’s a mirror. It shows how we’re pulled in different directions depending on which subfield we orbit. And for those of us working across mediums or platforms, that tension isn’t just structural—it’s personal. Lately, I’ve been asking: are we navigating a field, or are we being shaped by it? > “If I once imagined that the fragmentation of the art field might relieve me of feeling painfully split between its conflicting values and hierarchies, the consolidation of its subfields has revealed the degree to which I'm the product of those conflicts.” What would it mean to make art outside these coordinates—if that’s even possible anymore? [Read the original article →](https://www.e-flux.com/notes/634540/the-field-of-contemporary-art-a-diagram?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-52) --- *ART NARRATIVES* --- ![Through Surreal Paintings, Shyama Golden Reincarnates a Mythic Narrative](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_24501860-3f0d-4ca6-b78f-a985d17b2e4c.jpg) ## Through Surreal Paintings, Shyama Golden Reincarnates a Mythic Narrative Shyama Golden’s new show, *Too Bad, So Sad, Maybe Next Birth*, featured on Colossal, brings a surreal, mythic thread to life through oil on linen, each piece pulling from Sri Lankan folklore and personal memory. Golden builds a four-act visual narrative, with diptychs pairing broad scenes with intimate details—merging the personal with the cosmic. The article, written by Grace Ebert, highlights how the artist also collaborates with her husband, filmmaker Paul Trillo, to train an AI on her own visual language. What I love here isn’t just the blue-faced trickster or the oranges bleeding across pavement—it’s the fact that Golden treats painting like storyboarding. Each canvas feels like a still from a myth retold by someone who’s lived it. There’s real continuity, not just in style but in emotional and symbolic development across the works. > “Many artists who are canonized are actually working in a style that they didn’t invent but that was part of a movement arising out of their time and location.” Does sequential storytelling in visual art hit differently when technology—like AI—is also consuming the story? [Read the original article →](https://www.thisiscolossal.com/2025/04/shyama-golden-too-bad-so-sad/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-52) --- *DEFINITELY NOT AI* --- ![Ancient Egyptian Visual Depiction of the Milky Way Discovered](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_4db74ce8-d800-49d3-95dc-abc9996e341a.jpg) ## Ancient Egyptian Visual Depiction of the Milky Way Discovered Recent reporting by Conny Waters at AncientPages.com highlights new research into ancient Egyptian depictions of the Milky Way. Dr. Or Graur, an astrophysicist at the University of Portsmouth, studied 125 images of the sky-goddess Nut across thousands of years and found something intriguing—a rare black, undulating curve on a 3,000-year-old coffin that closely mirrors the Milky Way’s Great Rift. I always find it inspiring when old art gets a reinterpretation. Here’s a culture that wasn’t just observing the night sky—they were weaving it into religious belief, cosmology, and visual storytelling. The idea that Nut’s body, already symbolic of the sky, might also map an actual structure of our galaxy is a stunning example of ancient visual intelligence—both artistic and scientific. > “The texts, on their own, suggested one way to think about the link between Nut and the Milky Way. Analyzing her visual depictions on coffins and tomb murals added a new dimension that, quite literally, painted a different picture,” Graur said. What other cosmic narratives have we overlooked in museums because we weren’t asking the right questions? [Read the original article →](https://www.ancientpages.com/2025/05/02/ancient-egyptian-visual-depiction-of-the-milky-way-discovered/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-52) --- *DESIGN* --- ![Designers Do a Double Take at the Lettering on Pope Francis’s Tombstone](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3a410a7a-80b3-4639-991b-3c8796cf58ec.jpg) ## Designers Do a Double Take at the Lettering on Pope Francis’s Tombstone Typography critics lit up recently over Pope Francis’s tombstone, as reported by The New York Times. The inscription reads “FRANCISCVS,” but the spacing renders it more like “F R A NCISC VS.” It’s set in Times Roman, intended to reflect the Pope’s simplicity—yet the careless kerning has overshadowed that intent, frustrating anyone with even a basic design eye. I trained in graphic design and have zero sympathy for the way this was executed. This isn’t about artistic interpretation or some obscure Latin engraving tradition—this is just bad spacing. And no, it’s not the fault of a dodgy typeface or algorithmic typesetting. Someone made deliberate choices here. They just weren’t good ones. > They might as well have used Comic Sans. It would’ve at least been honest about not caring. How do we still get this wrong when the tools for doing it right are everywhere? [Read the original article →](https://www.nytimes.com/2025/05/04/world/europe/pope-francis-tomb-lettering.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-52) --- *INTERACTIVE ART* --- ![Mosaic Artist Uses Biscuits to Make Famous Faces](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d4d0fa55-2540-45ee-9bc1-5390daf935e6.jpg) ## Mosaic Artist Uses Biscuits to Make Famous Faces London mosaic artist Ed Chapman was commissioned by McVitie’s to create portraits of David Bowie, Sir Trevor McDonald, and Dame Judi Dench using thousands of chocolate digestives. As reported by the BBC, Chapman used several varieties—white, dark, milk, and even the biscuit’s plain backside—to build a surprisingly nuanced color palette. The portraits, part of McVitie’s 100-year celebration of the chocolate digestive, will be on display on The Strand. I’ll admit, I admire the patience it takes to turn a tea-time snack into a celebrity likeness. Chapman even mentioned refrigerating the biscuits to keep them easier to cut. But for me, biscuits belong in tea, not under varnish. > “I’ve protected them with several layers of varnish so... they should certainly last – they wouldn’t last in the direct sun though.” Would you rather preserve your food as art, or eat it before it melts? [Read the original article →](https://www.bbc.com/news/articles/c74zg7dd2j0o?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-52) --- *SCULPTURE* --- ![Jakub Geltner Bends Surveillance Cameras Into Curved Installations for Exhibition in Belgium](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a32a24d4-e230-4f96-9522-09f6a8bbb3d6.jpg) ## Jakub Geltner Bends Surveillance Cameras Into Curved Installations for Exhibition in Belgium Jakub Geltner’s new installation, featured on *designboom*, transforms surveillance cameras into twisted, organic forms. Drawing from natural patterns like vines or root systems, the work pushes these digital sentinels into something almost creature-like—bent, clustered, and disturbingly alive. These aren’t just sculptures—they feel like entities with intent. My immediate reaction? These cameras look like they're physically straining to catch you in their frame. You can *feel* their hunger to surveil, even though they’ve been rendered useless. And maybe that’s exactly the point—how deeply embedded these things have become in our environments and psyches. > I couldn’t help thinking: even deactivated and disarmed, these devices still carry an eerie presence. Their posture suggests a need to monitor, as if they’ve inherited a nervous system. It’s spooky. But it’s also a clever way to expose how surveillance has evolved into architecture—into our everyday spaces and expectations. What would it take to really disarm a surveillance culture—bending the tools, or changing the gaze? [Read the original article →](https://www.designboom.com/art/jakub-geltner-surveillance-cameras-curved-installations-exhibition-belgium-cultuurcentrum-de-steiger-menen-nest-05-01-2025/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-52) ![Cardboard Creations: Greg Olijnyk’s Amazing Robot Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_fefbb07c-799e-4c3a-96de-2819114a7af7.jpg) ## Cardboard Creations: Greg Olijnyk’s Amazing Robot Art Melbourne-based artist Greg Olijnyk left behind his graphic design career in 2017, turning instead to cardboard as his primary medium—a shift explored in *Design Swan’s* feature on his highly detailed robot sculptures. His works, like “Ascension” and “The Assembly Line,” are entirely hand-cut, with no digital tools or automation involved. The results don’t look like cardboard at all—they feel like relics from a sci-fi world built by clockmakers. What stands out to me is how the medium itself connects every piece. Cardboard gives Greg’s machines a quiet uniformity—almost like they’re all from the same dusty planet. There’s also something satisfying about turning something so disposable into something this deliberate and permanent. > "Cardboard naturally works well with simple curves, straight lines, and basic shapes," Greg explains. "When you see a bunch of my pieces together, they feel like they're connected, even though I didn't plan it that way." I’m now eyeing the stack of Amazon boxes in my garage a little differently—should I start building robots or just keep recycling? [Read the original article →](https://www.designswan.com/archives/cardboard-creations-greg-olijnyks-amazing-robot-art.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-52) --- *CREATOR PLATFORMS AND TOOLS* --- ![More Samsung TVs Can Look Like Beautiful Works of Art Now](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e9f324ba-d467-4a45-878e-5e747d9b28a4.jpg) ## More Samsung TVs Can Look Like Beautiful Works of Art Now Samsung is expanding its Art Store beyond The Frame TVs to include their 2025 Neo QLED line, according to coverage by CEPro. This means more of their high-end TVs will now support curated galleries from institutions like Art Basel and over 1,000 artists worldwide. Notably, their OLED line is still excluded, but the move clearly shows Samsung doubling down on the art-tech fusion they helped mainstream. The tech here isn’t the headline. What matters is how Samsung is evolving the concept of a digital art gallery embedded into devices we already use. It’s not just screen-as-canvas anymore—it’s screen as portal. I’m interested in how this could shift the way we think about displaying and collecting work from living artists. > I don’t care how big the TV is. I care that Samsung is exploring how to make art more present in everyday life, without forcing it through the funnel of ownership. They’re shaping a new kind of casual curation. Would you pay a subscription for rotating art on your wall, or does that feel like Netflix for paintings? [Read the original article →](https://www.cepro.com/news/samsung-expands-art-store-to-additional-tvs/617346/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-52) --- *ART AND POLITICS* --- ![I Sought My Soul, Considers a Contemporary Romanticism, a Newsublime in the World.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d1b0547d-bbef-4f3b-aa04-11f96d709f46.jpg) ## I Sought My Soul, Considers a Contemporary Romanticism, a Newsublime in the World. The group show *I Sought My Soul*, reviewed in [FAD Magazine](https://cur.at/f4STXEE?ref=theintersect.art), draws from William Blake and sets up a bold conversation between mysticism, identity, and AI. Curated by Tyger Tyger and staged in the damaged-yet-sacred space of St. Elisabeth Kirche in Berlin, the exhibition offers a surprising softness—what the curators describe as a “new sublime.” Artists like Lu Yang, Anne Imhof, and Jacolby Satterwhite use digital avatars, dream logic, and spiritual yearning to sidestep the usual binaries of politics, gender, and belief. I get why some younger artists feel cornered by the idea that art must carry a political stance. But I also think rejecting that impulse outright misses something. Autonomy doesn’t mean detachment. It’s not a refusal; it’s a choice. And sometimes, choosing to engage is the most autonomous act of all. > The exhibition highlights “a sense of fluidity amongst humanity, technology, artistic genres and personal orientations... emphasizing an open emotional framework.” Is it possible to hold space for resistance and tenderness at the same time? [Read the original article →](https://fadmagazine.com/2025/04/24/i-sought-my-soul-considers-a-contemporary-romanticism-a-newsublime-in-the-world/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-52) --- *THE LAST WORD* --- As I reflect on a year of The Intersect, I'm grateful to everyone who has joined me on this journey through the art-tech landscape. The companion podcast has been an experiment worth pursuing, and your continued readership means everything. I've worked to strike a balance with AI coverage—recognizing its significance without letting it dominate our conversations about creativity. If you have thoughts on the newsletter, stories that resonated, or ideas for year two, I'd genuinely love to hear from you. All the best, Juergen ### Meaning Over Mechanics: The Shift in Design URL: https://theintersect.art/issues/51/ Last updated: 2026-07-14T17:03:17.000Z Hi everyone, This week, I’ve curated a selection of stories that explore the evolving relationship between art and technology. We're looking at how AI is reshaping the creative landscape, with Elliot Vredenburg's insights on design shifting from execution to meaning. Artists like David Salle are finding innovative ways to integrate AI into their creative process, not as a replacement, but as a tool for growth and reflection. We also consider the broader implications of technology in fields like architecture and design. From Microsoft’s evolving design philosophy to Carlo Ratti's bold stance on climate adaptation, the conversation shifts from creation to curation and adaptation. Plus, there's the fascinating tale of scientists modifying human vision to perceive a new color. Intrigued? Let’s explore these intersections together. --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![Why Taste Matters Now More Than Ever](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_50dbe50f-dd08-4de1-9863-52ccafa46899.jpg) ## Why Taste Matters Now More Than Ever Elliot Vredenburg’s recent piece for *Fast Company* hits a nerve I’ve been feeling for a while: AI isn’t killing design—it’s changing its center of gravity. When the machine handles execution, the real value shifts to taste, judgment, and meaning. As production becomes frictionless, it's the friction of thought that stands out. What resonates with me most is the idea that design is moving from making to meaning—which frankly, is overdue. I’ve spent too many nights refining pixel-perfect details that no one will ever notice. Now I’m more interested in what the work *does*, who it speaks to, and why it matters. Meaning is the new craft. > “When production is automated, the designer’s role becomes less about making and more about meaning.” If creativity becomes a prompt, how do we teach vision? Or even better—can it be taught at all? [Read the original article →](https://www.fastcompany.com/91319403/why-taste-matters-now-more-than-ever?amp%3Butm%5Fcampaign=rss+fastcompany&%3Butm%5Fcontent=rss&%3Butm%5Fmedium=feed&%3Butm%5Fsource=rss&partner=rss&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-51) ![‘We Tried to Train It Like It Was a Kid in Art School’: Artist David Salle on Using an AI Model to Enhance His Painting Practice](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_12cca0ce-e34f-452d-be17-a9d3e50ebc71.jpg) ## ‘We Tried to Train It Like It Was a Kid in Art School’: Artist David Salle on Using an AI Model to Enhance His Painting Practice New York painter David Salle is using AI not as a gimmick but as a legitimate part of his creative process, as reported by *The Art Newspaper*. With engineer Grant Davis, Salle trained a custom version of Stable Diffusion to generate backgrounds in the style of his earlier work—images that he prints on linen and then paints over. The results, now showing in London, are unmistakably his: vivid, layered, and full of visual tension. What I find striking is how Salle doesn't just use AI to imitate his style—he uses it to reflect on it. That feedback loop allows him to evolve as a painter. It’s not automation; it’s conversation. He’s clearly not outsourcing his creativity—he’s challenging it to grow. > “You have to imagine this is something that doesn't actually know anything... Why even bother to teach it something? It's a machine. However, once trained, it's useful.” What happens when a machine helps you rediscover your own hand? [Read the original article →](https://www.theartnewspaper.com/2025/04/10/artist-david-salle-on-using-ai-model-enhance-his-painting-practice?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-51) --- *DESIGN* --- ![Microsoft’s Design Chief on Human Creation in the AI Era](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f451d9a3-18a5-48d0-8dcf-f1b7107bd23a.jpg) ## Microsoft’s Design Chief on Human Creation in the AI Era Microsoft’s Jon Friedman, interviewed by Tom Warren at *The Verge*, talks about how AI is reshaping the role of designers—less pixel-pushing, more curating and directing. Microsoft’s design org, long hidden in the shadow of Apple’s polish, is now navigating what it means to build for and with AI. Apparently, they even used generative AI to make a Surface ad—and nobody noticed. As a lifelong Mac user, if I wanted to be mean, I’d say, “Wait, Microsoft has a design team?” But to be fair, Friedman’s take reflects what many of us are feeling: the shift from creator to editor. The anxiety, the excitement, the awkwardness of using tools that blur authorship. I’ve been there—staring at a blank canvas, then watching an AI fill it in faster than I can decide which brush to use. > "Suddenly the design job is how do you edit… Even my job over the past 6–8 months has become an editor-in-chief job of the product, not just the design leader." Is design leadership now about taste rather than craft—and are we okay with that? [Read the original article →](https://www.theverge.com/notepad-microsoft-newsletter/655370/microsoft-design-ai-era-jon-friedman-interview-notepad?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-51) --- *ARCHITECTURE* --- ![Venice Architecture Biennale’s Carlo Ratti: ‘People Talk About Mitigating Climate Change Harm but It’s Too Late’](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f30ed3c5-069a-4dee-8857-9f32b10280a9.jpg) ## Venice Architecture Biennale’s Carlo Ratti: ‘People Talk About Mitigating Climate Change Harm but It’s Too Late’ Italian architect Carlo Ratti, curator of this year’s Venice Architecture Biennale, isn’t pulling punches. In an interview with the *Financial Times*, he shrugs off climate mitigation as yesterday’s conversation. Instead, he centers the exhibition on adaptation—how architecture can respond to environmental extremes we can no longer avoid. From flood barriers in Venice to Lagos' market economy, the show draws from tech, biology, and what Ratti calls “collective intelligence.” I get the urgency. But here’s my hesitation: architecture is still construction—and construction is a carbon monster. I’ve seen estimates that it accounts for up to 30% of global emissions. So when we say architecture is the solution, I wonder if that isn’t like asking a fire to put itself out with more fire. What, exactly, does a “new level of thinking” look like when the tools we have are part of the problem? > “Usually when people talk about climate change, they talk about mitigating harm in travel, industry, construction,” Ratti says. “But now it’s too late for that... As things become more extreme, we need a new approach, a new level of thinking.” Is it possible to build our way out of a crisis caused, in part, by building? [Read the original article →](https://www.ft.com/content/3b805787-66dd-4ffc-965e-ec5a282398ac?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-51) --- *SCULPTURE* --- ![BIG’s Interactive Water Installation Reveals Power of Roca Connect at Milan Design Week 2025](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3706c8c1-78d9-49db-952c-48922f75420f.jpg) ## BIG’s Interactive Water Installation Reveals Power of Roca Connect at Milan Design Week 2025 At Milan Design Week 2025, the architecture firm BIG revealed an interactive installation for Roca, featured in *designboom*. This piece showcases “Roca Connect,” a smart water management platform. The installation is a closed-loop fountain that visualizes water’s continuous cycle and highlights how cloud-based systems can track usage and optimize conservation. The tech is sleek, but what caught my attention was the art—the way data and design merge into something viewers can feel, not just use. It’s hard to ignore that this is also product promotion. But part of me appreciates that—it echoes Renaissance-era patronage, when merchants commissioned artists not just for beauty, but for visibility. I just hope the artist here wasn’t treated as an accessory. If BIG was compensated to collaborate meaningfully, then this is more than branding—it’s a platform for both water awareness and artistic voice. > It’s advertising, yes—but if the artist is paid, and the message is clear, does that make it advocacy? Where’s the line between collaboration and co-option when tech hires artists to tell their story? [Read the original article →](https://www.designboom.com/design/big-interactive-water-installation-roca-connect-milan-design-week-04-30-2025/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-51) --- *ART & SCIENCE* --- ![Ephemeral Tech: A.A. Murakami on Using Robotics and Physics to Create Nature in Installations](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_af3312d4-9fe6-4519-82e4-af3a080109c5.jpg) ## Ephemeral Tech: A.A. Murakami on Using Robotics and Physics to Create Nature in Installations The interview with A.A. Murakami in *designboom* explores their latest installation work at Milan Design Week 2025, where they use robotics and fluid dynamics to mimic natural processes. They call it “ephemeral tech,” which is an odd but fascinating phrase—technology that vanishes or transforms, mirroring the fleeting nature of the natural world they’re trying to evoke. What caught my attention most was the way they describe their work as “invoking nature.” That’s a very different framing from “simulating” or “representing.” It feels more poetic, less literal. Maybe this is a translation artifact, or maybe it reflects a broader, more imaginative way of speaking about art and tech in other cultures—one that leaves room for subtlety and mystery. > “We’re creating environments that feel natural, but they are entirely artificial—bubbles, fog, light. It’s about the feeling of nature, not copying it.” Is “ephemeral” just a poetic flourish—or are we finally admitting that even our tech is part of the cycle of decay and renewal? [Read the original article →](https://www.designboom.com/art/ephemeral-tech-aa-murakami-robotics-physics-nature-installations-studio-swine-interview-04-26-2025/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-51) ![Scientists Modified the Eyes of 5 Humans to See an ‘Unprecedented’ New Color](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_af2db221-443b-4b1f-a0c5-94cf9bf234b5.jpg) ## Scientists Modified the Eyes of 5 Humans to See an ‘Unprecedented’ New Color Scientists at UC Berkeley, as reported by *LiveScience* and *Science Advances*, managed to temporarily alter human vision by stimulating specific green-sensitive cones in the eye—leading five participants to perceive a totally unfamiliar color: “olo.” This color doesn’t exist within the natural limits of human sight. The method involved lasers, high-speed eye-tracking, and a rig they call “Oz.” It’s a fascinating proof of concept, especially for studying retinal disorders and possibly helping color-blind individuals. That said, I’m not holding my breath for a new color palette in Photoshop labeled “olo-compatible.” The setup is wildly impractical for anything outside a lab—million-dollar lasers, motionless staring, and only a tiny sliver of peripheral vision. > I get the scientific value, and sure, the medical implications are worth exploring—but let’s be real: no one’s painting with “olo” anytime soon. Unless you like staring at a laser dot without blinking for hours. Would you even want to see colors no one else can see? [Read the original article →](https://www.fastcompany.com/91320367/scientists-modified-the-eyes-of-5-humans-to-see-an-unprecedented-new-color?amp%3Butm%5Fcampaign=rss+fastcompany&%3Butm%5Fcontent=rss&%3Butm%5Fmedium=feed&%3Butm%5Fsource=rss&partner=rss&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-51) --- *THE LAST WORD* --- Thanks for journeying through these stories with me. Your curiosity and engagement are what make this exploration worthwhile. If any of these topics sparked a thought or a question, I’d love to hear from you. Let’s continue this dialogue and discover the intriguing intersections of art and technology together. Warm regards, Juergen ### The Art of Questioning Technology: From Data to Democracy URL: https://theintersect.art/issues/50/ Last updated: 2026-07-14T17:03:42.000Z Hi all, This week, I'm exploring how art shapes our understanding of technology and vice versa. From Boston Cyberarts' new exhibition using artistic practice as a tool for data literacy to the Academy Awards' new rules on AI in Oscar-eligible films, we're seeing significant shifts in how creativity and technology interact. I'm particularly struck by Pasadena's public art walking tours—a refreshing approach that makes art the destination rather than just background. I've also included thoughts on NASA's "Painting with Jupiter" (is applying a filter to satellite imagery really painting?), theater's potential role in democracy, and how AI is reimagining photographic histories. Plus, there's a look at European museums' thoughtful integration of technology that goes beyond spectacle to create meaningful engagement. --- *DATA DRIVEN ART* --- ![“Data Fluencies” Exhibition Series Kicks Off at Boston Cyberarts](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_6fc40364-f296-4c36-84eb-ca310031a74e.jpg) ## “Data Fluencies” Exhibition Series Kicks Off at Boston Cyberarts Boston Cyberarts just launched “Data Fluencies: Rivulets,” the first in a three-part exhibition series reported by HOLO. Curated by Roopa Vasudevan, it brings together artist-researchers like Jazsalyn, Lai Yi Ohlsen, Kristoffer Ørum, and Caroline Sinders to expand how we think about data and machine learning—through art. Vancouver and Lexington are up next in May and June. What caught my attention is the way this show uses artistic practice as a tool for data literacy. That’s something I find both urgent and overdue. We’re bombarded with data every day, but very few of us are trained to question what we’re seeing—or how it’s shaped. Art can slow us down just enough to ask better questions, and that’s where things get interesting. > I’ve said before: we don’t need more dashboards—we need more room to feel what the data means. This show seems to offer that, and I’m here for it. What’s one piece of data you’ve never quite trusted, but never stopped to really question? [Read the original article →](https://www.holo.mg/stream/boston-cyberarts-data-fluencies/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-50) --- *FILM & VIDEO* --- ![The Academy Awards Have New Film Rules. AI Is Now Okay for the Oscars](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2d2d33e1-0f0a-4cd8-be3d-85e5043c7d94.jpg) ## The Academy Awards Have New Film Rules. AI Is Now Okay for the Oscars The Academy’s new rules, reported by Nadeem Sarwar at *Digital Trends*, confirm what many in Hollywood already suspected: generative AI is officially allowed in Oscar-eligible films. The Academy insists that AI tools “neither help nor harm” a film’s shot at a nomination. What matters is the final product. But that’s a slippery idea when the tools involved are capable of scripting, voicing, and visualizing entire scenes. What caught my eye isn’t just the rule itself, but the way responsibility gets offloaded. By leaving the decision to voters, the Academy is essentially saying: “It’s up to your gut.” That opens the door to every kind of personal bias—techno-optimist or AI-purist—shaping what gets considered worthy. > “The Academy and each branch will judge the achievement, taking into account the degree to which a human was at the heart of the creative authorship…” How long before that “degree” becomes a spreadsheet and not a feeling? [Read the original article →](https://www.digitaltrends.com/computing/the-academy-awards-have-new-film-rules-ai-is-now-okay-for-the-oscars/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-50) --- *PUBLIC ART* --- ![Pasadena Pulls Focus on City’s Public Art With Redesigned Walking Tour Brochure](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_41056b8b-a3ac-4b17-a924-668f3871d6ac.jpg) ## Pasadena Pulls Focus on City’s Public Art With Redesigned Walking Tour Brochure Pasadena Now reports that the city has released a redesigned Public Art Walking Tour Brochure, featuring eight self-guided routes highlighting over 177 permanent public artworks. These 30-minute tours—walkable or bikeable—showcase everything from interactive sculptures to video installations, reflecting Pasadena’s commitment to art as a part of everyday life. I’ve lost count of how many times, while traveling, I’ve picked up a walking tour brochure only to be led from one famous historical plaque to another. Which is fine—but imagine if more cities turned the spotlight onto public art instead. Pasadena’s approach reframes how we explore—and who we celebrate—by making art the destination, not just the backdrop. > When I travel, I look for art in the margins—on buildings, in parks, sometimes tucked behind a row of cafés. Having a city actually map that out for me? That feels like someone finally gets it. What would it look like if every town treated its art like part of its history? [Read the original article →](https://pasadenanow.com/main/pasadena-pulls-focus-on-citys-public-art-with-redesigned-walking-tour-brochure?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-50) --- *ART & SCIENCE* --- ![Painting With Jupiter](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3fffa58d-0b5f-4e78-b640-14c4f05bce8d.jpg) ## Painting With Jupiter NASA's Astronomy Picture of the Day featured *“Painting with Jupiter”*—a processed image by citizen scientist Rick Lundh using data from JunoCam. Captured during Juno’s close flyby in December 2017, the raw data was modified with an oil-painting software filter to create a post-impressionist rendering of Jupiter’s swirling clouds. The image is undeniably striking—but let’s talk about the method. I’m all for bending tools to unexpected ends, but calling this painting feels like a stretch. Slapping a preset filter on a satellite image doesn’t quite earn the brushstroke metaphor. There's a difference between digital artistry and automated style transfer. One involves choices—the other, presets. > The world’s longest paintbrush? While I like the idea, I’m not sure that applying an “oil painting software filter” to a satellite image capture applies… Is it still art if the artist is mostly the algorithm? [Read the original article →](https://apod.nasa.gov/apod/ap250419.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-50) --- *ART AND POLITICS* --- ![How Theatre Should Help Save Democracy](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_53c83e01-463e-4511-87d9-f5692f45abf8.jpg) ## How Theatre Should Help Save Democracy Salon’s recent piece, *How Theatre Should Help Save Democracy*, explores an idea that feels both ancient and urgent: that democracy needs spaces for public reflection—and that theater was once exactly that. The piece draws from classical Athens, where drama wasn’t just entertainment but civic engagement. Tragedy offered lessons in justice and leadership, while comedy took on current politics with satire and sharp critique. This stuck with me. In Athens, theater was a civic duty. Not just a night out. It helped people imagine consequences before casting votes. We don’t really have anything like that today. Not in mainstream media, not in the comment sections, and certainly not in our political campaigns. I'm not sure TikTok or Instagram reels quite count. > “Voting is not, all by itself, foundational to democracy. Indeed, without careful deliberation about the consequences of policies, voting can even be anti-democratic.” Can a play still teach us how to think like citizens rather than spectators? [Read the original article →](https://www.salon.com/2025/04/13/can-theater-save-democracy-its-not-an-idle-question--its-happened-before/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-50) --- *EXHIBITIONS & EVENTS* --- ![‘Trained Histories’ Explores AI’s Intersection With Photography and Historical Narrative](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_42100eab-0d93-4edf-8c7e-175f7eeb0c1c.jpg) ## ‘Trained Histories’ Explores AI’s Intersection With Photography and Historical Narrative The team at *fstop Magazine* spotlighted the exhibition *Trained Histories* at Indianapolis’s Aurora PhotoCenter, curated by Mary Goodwin. Featuring work by Minne Atairu, Michael Borowski, Jim Naughten, and Phillip Toledano, the show explores how AI can reimagine photographic histories—sometimes inventing them entirely. Each artist plays with AI differently, from subtle restoration to overt fabrication, raising questions about memory, authorship, and what photography even means now. I’m always curious about curatorial intent in AI-heavy shows. This one avoids the usual spectacle. Instead, it leans into ambiguity—how AI can fill in historical blanks or conjure entirely new records. Photography used to be about evidence. Now, it might be just as much about possibility. > What stuck with me was this line from the curatorial text: “AI allows for the reconstruction or imaginative creation of moments absent from photographic records, filling gaps left by erasure, exclusion, or loss.” What happens when the tool used to remember also becomes the thing that invents? [Read the original article →](https://www.fstopmagazine.com/blog/2025/review-trained-histories-explores-ais-intersection-with-photography-and-historical-narrative/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-50) --- *FUTURE TRENDS IN ART AND TECH* --- ![How Museums in Europe Adapt to Modern Technology](https://theintersect.art/content/images/2026/07/2025-04-23_09-48-55.jpg) ## How Museums in Europe Adapt to Modern Technology Museums in Europe aren’t just protecting art—they’re rethinking how we connect with it. A recent piece from *Lab Kultur* outlines how institutions like the Louvre, the Rijksmuseum, and the British Museum are layering in AR, VR, interactive displays, and mobile apps to make exhibitions more accessible and immersive. Social media and online collections extend their reach beyond physical walls, and the focus isn’t just on spectacle—it’s on meaningful engagement. What strikes me is that the real difference between many EU museums and those here in the U.S. isn’t the tech itself—it’s how well-supported these institutions are. Public funding, cultural policy, and private investment all play a bigger role there in keeping museums current, not just operational. > A few years ago, I visited a museum in Berlin where a centuries-old manuscript was paired with a digital screen showing its full translation and context. It wasn’t flashy—it was just thoughtful. And it made the entire experience feel alive, not buried in the past. Are we underestimating how much cultural value we lose when we treat museums as afterthoughts in our budgets? [Read the original article →](http://www.labkultur.tv/how-museums-in-europe-adapt-to-modern-technology/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-50) --- *THE LAST WORD* --- Thanks for spending time with these stories and reflections. I'm constantly fascinated by how art and technology push and pull at each other, creating tensions that spark new possibilities. I'd love to hear which of these topics resonated with you or what you're noticing in your own creative or technical worlds. Your perspectives often open doors to conversations I hadn't considered. Best, Juergen ### Subcultures, Screens, and Signals URL: https://theintersect.art/issues/49/ Last updated: 2026-07-14T17:04:09.000Z Hi all, This week, I’m spotlighting how subcultures and new technologies find unexpected homes—from goth artists staging a festival on a haunted aircraft carrier, to design schools that now treat machine learning as essential as color theory. You’ll find a look at Salvador Dalí’s abandoned screenplay, resurrected by AI, and an interview with Hicham Berrada, whose art lets chemistry and decay shape the final outcome. There’s also a moment to marvel at auroras as seen from the International Space Station, and a look at Adobe’s newest AI agents for Photoshop and Premiere Pro—designed to make the technical bits less of a chore. Finally, I share thoughts on a new exhibition that claims the information age is already behind us, and the real challenge now is cutting through the noise. --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Goth Artists to Take Over a Haunted Ship in San Francisco Bay](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9b1fc6a5-3ba8-4a1d-b45c-eaf2f44bd25f.jpg) ## Goth Artists to Take Over a Haunted Ship in San Francisco Bay Goth artists are taking over the USS Hornet, a decommissioned aircraft carrier docked in Alameda, for a two-day festival of dark art, fashion, and music. As Katy Atchison writes for *Broke-Ass Stuart*, the event is hosted by The Menagerie Oddities Market and promises everything from goth fashion shows and live bands to paranormal ship tours and a “Dark Refuge” tea lounge. It’s part haunted museum, part art fair, part dance party—above the waves and below the radar. Here’s one for a code-switching society. The last venue I’d expect for goth subculture is a military vessel. But maybe that’s the point. The contradiction is the draw. Cold steel, institutional trauma, and military pageantry are the perfect foil for self-expression that’s deeply emotional, theatrical, and defiantly nonconforming. > I can’t decide if it’s brilliant irony or just poetic chaos, but it works—and it’s visually stunning. Picture moody synths echoing off bulkheads while someone in leather and lace poses beneath a Cold War-era fighter jet. Is this subversion, homage, or just a killer aesthetic mashup no one saw coming? [Read the original article →](https://brokeassstuart.com/p/goth-artists-to-take-over-a-haunted-ship-in-san-francisco-bay?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-49) ![Istituto Marangoni Milano Design School Trains Students for an Era Shaped by Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a80f7c53-4f01-45bd-b5e8-48339ed8005c.jpg) ## Istituto Marangoni Milano Design School Trains Students for an Era Shaped by Technology At Designboom, Istituto Marangoni’s Milano Design School is spotlighted for its forward-leaning curriculum that blends creative practice with new tech. Their three new programs—focused on AI, robotics, and virtual reality—aim to prepare designers for a future that doesn’t just use tech as a tool, but builds with it from the ground up. This reminds me of my own winding path. I started out with a fine arts degree, which eventually led me into programming, then banking, then launching a company in marketing tech—and now, back to visual arts and acousti guitar compositions. If that sounds chaotic, it was. But it taught me something: when creativity meets systems thinking, you don’t just adapt to change, you shape it. > It’s refreshing to see design schools finally catch up to the idea that a wide-angle, liberal-arts-style education—updated for today’s tech—isn’t just viable, it’s vital. What path would you have taken if your art degree had included a class in machine learning? [Read the original article →](https://www.designboom.com/design/istituto-marangoni-milano-design-school-technology-courses-04-14-2025/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-49) --- *AI IN VISUAL ARTS* --- ![Salvador Dalí’s “Giraffes on Horseback Salad” to Be Recreated Using AI.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7a88d558-dc1f-4e20-90ef-061ca54bb6fe.jpg) ## Salvador Dalí’s “Giraffes on Horseback Salad” to Be Recreated Using AI. Salvador Dalí’s long-lost screenplay *Giraffes on Horseback Salad* is being reimagined using AI through Google’s Veo 2 platform, as covered in an article by Maxwell Rabb for Artsy. First conceived in 1937 for Harpo Marx, the project was shelved for being “too surreal”—hard to imagine, coming from the man who painted melting clocks and lobster telephones. Now, with support from Goodby Silverstein & Partners and The Dalí Museum, Dalí’s dream is being brought to life—not as a replica, but as a strange new interpretation. I grew up mesmerized by Dalí’s dreamscapes, but as an adult, I find myself wrestling with the man behind the brush. His ego was monumental—he once said waking up as himself was a daily joy. When I see AI “reawakening” his work, I can’t help but wonder: would Dalí have loved this homage, or sued everyone for not making it weird enough? > “Dalí wasn’t just an artist; he was a showman, a provocateur, and an unapologetic narcissist. His flamboyant personality and relentless self-promotion were as much a part of his brand as his paintings were.” Can we really separate the brilliance of the art from the brashness of the artist—or should we stop pretending we need to? [Read the original article →](https://www.artsy.net/article/artsy-editorial-salvador-dalis-giraffes-horseback-salad-recreated-ai?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-49) --- *ART & SCIENCE* --- ![HICHAM BERRADA, Between Science & Poetic Transformation](https://theintersect.art/content/images/2026/07/Cartes-Meres3.png) ## HICHAM BERRADA, Between Science & Poetic Transformation French-Moroccan artist Hicham Berrada's interview in *CLOT Magazine* explores how his work lives at the edge of science and poetic intuition. He doesn’t sculpt in the traditional sense—instead, he sets chemical, electrical, and environmental processes in motion and lets materials evolve on their own. With roots in scientific observation, his pieces are shaped by forces like erosion, electrolysis, and decay, creating organic, sometimes alien-looking forms that seem to grow on their own. What draws me in is his ability to step aside and let nature “work.” There’s something quietly radical in that. Berrada talks about landscapes formed through electrochemical processes, or 3D-printed sculptures designed to decompose. I find this idea of impermanence—of embracing decay and transformation—deeply moving and surprisingly relevant in today’s hyper-controlled creative workflows. > “The physical sculpture is intentionally subject to time and decay, but the ability to recreate it from the digital file opens up a dialogue about preservation, impermanence, and how we relate to materiality in art.” Is the future of art a collaboration—with nature, with code, with decay itself? [Read the original article →](https://clotmag.com/interviews/hicham-berrada-between-science-poetic-transformation?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-49) ![See Gorgeous Green Auroras Dance Over Earth in Dazzling ISS Astronaut Video](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2d644a5c-2b54-4fb4-8e3a-429c34ebbb8e.jpg) ## See Gorgeous Green Auroras Dance Over Earth in Dazzling ISS Astronaut Video NASA astronaut Don Pettit shared two astonishing videos of Earth’s auroras captured from the International Space Station, as reported by Space.com. One video floats above the southern lights near Antarctica, the other hovers over a green-lit turbulence of atmosphere so ethereal it barely looks real. Pettit, now 69, is still actively exploring the delicate mix of science and wonder from earth orbit—and sharing it with us in ways that feel strangely intimate. What hits me is how familiar these lights are—and yet completely different. Seeing auroras from Earth is already surreal, but from space, they don’t just dance, they ripple like giant sheets of liquid energy. It’s no longer just a light show—it’s planetary behavior. > “Green vaporous turbulence,” Pettit called it. That phrase got lodged in my head. Like something out of a Giger sketchbook, but real, and it’s our own upper atmosphere. How would you capture something so vast and silent in your own work? [Read the original article →](https://www.space.com/space-exploration/international-space-station/see-gorgeous-green-auroras-dance-over-earth-in-dazzling-iss-astronaut-video?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-49) --- *CREATOR PLATFORMS AND TOOLS* --- ![Adobe Is Building AI Agents for Photoshop and Premiere Pro](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c899d19f-d297-4d24-aad7-de9b337deb98.jpg) ## Adobe Is Building AI Agents for Photoshop and Premiere Pro Adobe’s CTO of Digital Media, Ely Greenfield, shared in a recent [Adobe blog post](https://cur.at/aKNsT6o?ref=theintersect.art) that Photoshop and Premiere Pro are getting AI agents designed to suggest and carry out photo and video edits. These agents live in a new floating Actions panel and respond to natural language prompts—“remove background people,” “add a text box,” “organize layers”—and then just do it for you. What’s interesting to me is how Adobe continues to take a careful, integrated approach to AI. They’re not shoving automation into the creative process. They’re letting it sit alongside us. This isn’t about replacing creativity—it’s about making the technical part less of a hurdle so we can focus on decisions that actually matter. > “While AI can't replace human creative inspiration, with your input it can make some educated guesses to help you get your project off the ground,” Greenfield wrote. Does this kind of AI collaborator make you feel empowered—or like someone’s standing over your shoulder with a clipboard? [Read the original article →](https://www.theverge.com/news/646205/adobe-photoshop-premiere-pro-ai-creative-agent-actions?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-49) --- *EXHIBITIONS & EVENTS* --- ![The End of the Information Age is Here: Information Has Become Noise](https://theintersect.art/content/images/2026/07/IMG_2607_VSCO-2-1.jpg) ## The End of the Information Age is Here: Information Has Become Noise Researcher and media artist Eryk Salvaggio’s recent piece for HOLO, covering the “Signal to Noise” exhibition he co-curated at Melbourne’s National Communication Museum, struck a nerve. He argues we’re no longer overwhelmed by a lack of information—but by the impossibility of escaping it. AI, in his view, isn't the issue—it's just the latest filter in a long line of systems trying to impose structure on human chaos. I’ve always been fascinated by the idea of signal and noise. When the noise overwhelms the signal, what’s left? We’re flooded with data, yet clarity feels rare. I appreciate that this exhibition format invites us to question whether we’re still in the “information age,” or if that ended while we weren’t looking. What comes next may not be more data, but better ways to interpret—or ignore—it. > “This show is a post-AI exhibition,” Salvaggio writes, “and AI merely the most recent in a long series of confrontations between the ordered logic of computers and unstructured creativity of human beings.” What if the next creative leap is learning when to stop listening? [Read the original article →](https://mail.cyberneticforests.com/signal-to-noise/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-49) --- *THE LAST WORD* --- Thanks for reading and spending some time with these stories. Your engagement keeps this conversation alive and evolving. If any of these pieces sparked a thought, a question, or even a disagreement, I’d genuinely like to hear from you. Let’s keep exploring the ways art and technology shape each other, and see what we uncover next. Best, Juergen ### Imagination to Reality: When Art Leads, Technology Follows URL: https://theintersect.art/issues/48/ Last updated: 2026-07-14T17:04:28.000Z Hi all, This week's collection explores how imagination shapes reality across creative fields. From science fiction writers who planted the seeds for actual space exploration to orchestral musicians fighting for fair compensation in the streaming era, I'm examining how art and technology continue to push and pull on each other. I've also included some thought-provoking pieces about AI's complicated relationship with art—from the controversy over AI-generated promotional materials at Oakland First Fridays to digital artists whose handcrafted work is now dismissed as machine-made. Plus, there's a fascinating look at the staged perfection of travel photography and Google's attempt to make technology feel more human through interactive light installations. --- *ART NARRATIVES* --- ![Why Science Fiction May Be the Root of Space Exploration](https://theintersect.art/content/images/2026/07/0_0.jpg) ## Why Science Fiction May Be the Root of Space Exploration The piece from *Hackernoon* tracks how science fiction has shaped space exploration, shining a light on the influence of writers like Verne, Clarke, Heinlein, and Asimov. From *A Trip to the Moon* to *Starship Troopers*, it’s clear these stories did more than entertain—they seeded our expectations of space itself. What struck me reading this is how often artists and writers imagine futures that scientists eventually build toward. It's not limited to outer space. Think *Fantastic Voyage* and microscopic travel, or all the underwater cities dreamt up in the 20th century. These visions weren’t about spectacle—they were about possibility, progress, and often, survival. > “What’s important to take away, though, is that humans have always dreamed of traveling through the stars.” (*Hackernoon*) So, were we ever chasing the stars—or just catching up to artists who were already there? [Read the original article →](https://hackernoon.com/why-science-fiction-may-be-the-root-of-space-exploration-the-journey-to-space-travel?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-48) --- *TECHNOLOGY IN MUSIC* --- ![Orchestral Players Call on UK Culture Minister to Ensure All Musicians Earn When Their Music Is Streamed](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5cb8accf-d631-4662-8b63-f5bbe190512e.jpg) ## Orchestral Players Call on UK Culture Minister to Ensure All Musicians Earn When Their Music Is Streamed Hundreds of orchestral musicians across more than 20 UK ensembles have signed an open letter to culture minister Chris Bryant, calling for fair revenue sharing from music streaming. As reported by CMU, the Musicians’ Union is pushing to extend equitable remuneration (ER) to all session and non-featured players, who currently receive nothing from streaming platforms like Spotify or Apple Music unless they’ve negotiated it. This isn’t just a streaming issue—it’s about how copyright law defines who gets paid. In the UK, if you're not a "featured artist", you're basically invisible to the system that distributes revenue. That’s a structural choice. It reflects how the law favors a narrow definition of creative contribution, and it's one that disproportionately affects orchestral and session musicians. > “If musicians create an asset that someone can profit from, then surely we should be properly and fairly remunerated for that in every case,” the open letter states. Why do we keep accepting a royalty structure that treats some musicians like ghosts? [Read the original article →](https://completemusicupdate.com/orchestral-players-call-on-uk-culture-minister-to-ensure-all-musicians-earn-when-their-music-is-streamed/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-48) --- *AI IN VISUAL ARTS* --- ![AI Art Flyer Brings Controversy to Oakland First Fridays](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a8d9c13f-c8d0-4988-bd4e-3b0d934d1bb3.jpg) ## AI Art Flyer Brings Controversy to Oakland First Fridays Organizers of Oakland First Fridays are facing backlash after using AI to create a promotional flyer, as reported by KQED. Their explanation? Budget constraints. They said it wasn’t entirely AI-generated and that they made “significant edits,” but that hasn’t stopped the criticism—especially from artists who feel sidelined by automation. I help run a First Fridays event too, with a shoestring budget and big ambitions. We don’t use AI for promotion, not because we’re purists, but because we believe human-made art sets the tone. But I also get it. Non-profits are often balancing creativity with survival. I draw a line between using AI for marketing and positioning it as actual creative output. > “What’s better: having your event not get noticed, adding a lot of lead time to being able to market it, but hiring graphic designers who many people might argue are not true artists either, versus using modern marketing techniques that allow us to do this at scale?” Is the outrage about AI—or about artists feeling like they’re being left out of the conversation altogether? [Read the original article →](https://www.kqed.org/arts/13974149/oakland-first-fridays-fair-ai-artwork-controversy?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-48) --- *PHOTOGRAPHY* --- ![25 Instagram vs. Reality Photos That Paint a More Authentic Picture](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3125d46f-c764-42c6-8d00-8b888e0b438e.jpg) ## 25 Instagram vs. Reality Photos That Paint a More Authentic Picture DeMilked’s “25 Instagram Vs. Reality Photos That Paint A More Authentic Picture” pulls back the curtain on the curated calm of influencer travel posts. Using behind-the-scenes comparisons, it spotlights the crowded chaos lurking just outside the frame. The photos—mostly pulled from TikTok creators like @roemer\_productions—reveal the visual gymnastics it takes to manufacture serenity in over-touristed spots. I’ve definitely been there. Trying to photograph a peaceful plaza while elbowing past twenty selfie sticks. I get the impulse. We all want to feel like we’re discovering something untouched. But the truth is, there’s often a hundred people behind the person in the photo, all trying to do the same thing. > When I was still a product photographer in New York City, we created these immaculate tabletop scenes. But five steps back? Total chaos—cables, lights, reflector boards everywhere. Photography has always been a kind of lie like that, and we’ve always played along. Are these “perfect” photos really aspirational—or just carefully staged nostalgia for a place that never was? [Read the original article →](https://www.demilked.com/ig-vs-reality?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-48) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![Jeu De Paume Puts on Wide-Ranging Survey of Work Created by Artists Working With Artificial Intelligence](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b22f4e5b-b760-4050-bf75-f31f65736c15.jpg) ## Jeu De Paume Puts on Wide-Ranging Survey of Work Created by Artists Working With Artificial Intelligence The Art Newspaper’s recent piece on *Le Monde Selon L’IA*, now showing at Jeu de Paume in Paris, brings overdue attention to a broader view of AI in art. Unlike shows that spotlight a single figure—think Refik Anadol or Herndon/Dryhurst—this one gathers over 30 artists probing AI’s many angles: generative, analytical, conversational, surveillance-focused, and even environmentally entangled. What I find compelling is how this moves beyond idolizing the lone tech-wizard-artist. Instead, it maps a collective field, showing how AI becomes a medium, not just a tool. That shift—from seeing AI as some mysterious plug-in to something you shape and question—is what makes this feel necessary. Artists like Trevor Paglen and Hito Steyerl aren’t just using AI, they’re interrogating it. > “It is often through artistic works that we become more conscious of the impacts and implications of AI,” says curator Antonio Somaini. That’s the kind of framing we need more of. Are we finally seeing AI art treated less like magic and more like method? [Read the original article →](https://www.theartnewspaper.com/2025/04/07/jeu-de-paume-survey-artists-working-with-artificial-intelligence?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-48) --- *DEFINITELY NOT AI* --- ![Digital Artist Shares What It’s Like to Have His Work “Ruined by AI”](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f4238c35-8a21-4ed5-95d9-f6215ae8f6d7.jpg) ## Digital Artist Shares What It’s Like to Have His Work “Ruined by AI” UK-based artist Karl Roberts opens up in *My Modern Met* about the frustration of having his hand-crafted, surrealist digital photography dismissed as AI-generated. Roberts, who’s spent 16 years building his visual language through photography, Photoshop, and painstaking manual editing, says that the rise of AI image generators has left him feeling erased. I get it. Before AI tools started spitting out surreal dreamscapes by typing a few prompts, there were artists blending photography, collage, and manual compositing to create emotionally rich and technically demanding work. If I had poured years into a process—finding props, shooting in real locations, manually stitching and retouching for weeks—only to be told it *must* be AI? I’d be pissed too. > “Everything you see in my pictures is a real photograph... knowing that process can now be trivialized with AI is really heartbreaking, to be honest.” What signals can we create—or reclaim—to preserve the value of human craft in digital art? [Read the original article →](https://mymodernmet.com/karl-roberts-digital-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-48) --- *INTERACTIVE ART* --- ![Google’s New Artwork Is an Ode to Our Complicated Relationship With Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_dac92a6a-9b1d-4ad1-a139-38f30fac0c7d.jpg) ## Google’s New Artwork Is an Ode to Our Complicated Relationship With Technology At this year’s Salone del Mobile in Milan, Google’s installation *Making the Invisible Visible*—covered by Mark Wilson for *Fast Company*—turns beams of laser light into a tactile art experience. Designed with artist Lachlan Turczan, it invites visitors to interact with light as if it were fabric, reacting to touch like harp strings. Google connects this sensory work to its product philosophy: ambient tech that disappears until needed, like the Nest thermostat or Pixel Buds. What I find interesting here isn’t the tech, but Google’s attempt to frame it as emotional and human. That’s a big ask. Art can carry abstraction—we expect that. But when a trillion-dollar company does it, the line between authenticity and branding gets murky. > “We have to come to that place where we’re not competing \[with technology\], but we are interacting together, moving modern life forward,” says Ivy Ross, Google's head of device design. Can technology be quiet, soft, and generous—or is that just how we market noise today? [Read the original article →](https://www.fastcompany.com/91312697/google-salone-de-mobile-installation-technology-design?amp%3Butm%5Fcampaign=rss+fastcompany&%3Butm%5Fcontent=rss&%3Butm%5Fmedium=feed&%3Butm%5Fsource=rss&partner=rss&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-48) --- *THE LAST WORD* --- Thanks for spending time with these stories. Each week, I try to find pieces that challenge how we think about the relationship between creativity and technology. Your thoughts on these topics matter to me—they help shape future issues and expand the conversation beyond what I can see on my own. Feel free to reply with your perspective or questions about anything that resonated with you. Until next week, Juergen ### When Data Becomes Poetry: Art & Science in Unexpected Places URL: https://theintersect.art/issues/47/ Last updated: 2026-07-14T17:04:55.000Z This week, I've gathered stories that celebrate the fascinating marriage of art and science – a refreshing shift from our usual AI focus. From Barcelona's hospital transforming medical data into flowing visual art to Switzerland's new passport blending security with topographical beauty, these pieces showcase how technical precision and artistic vision can enhance each other. You'll also find stories about NASA's artistic documentation of the space race, planetariums evolving into immersive storytelling spaces, and cutting-edge technologies preserving Renaissance frescoes in Florence. Plus, there's a thoughtful piece on how the Getty PST initiative brought artists and scientists together during politically challenging times. Each story reminds us that when art and science connect, both become more accessible and meaningful. --- *DATA DRIVEN ART* --- ![Live Hospital Data Visualisations Combine Art With Medicine](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5c4fc24a-b2c6-4b8d-9224-ec91e7bb692a.jpg) ## Live Hospital Data Visualisations Combine Art With Medicine Barcelona’s Sant Joan de Deu children’s hospital has turned a data corridor into a living art piece. As reported by *AV Magazine*, the Cortex Data Visualisation—created by systems integrator Instronic—transforms live hospital data into fluid, ever-shifting visual patterns. Installed at the entrance to the hospital’s control room, it uses light, movement, and advanced graphics to turn raw information into something both poetic and readable. What caught my attention is how this installation doesn’t just represent information—it reinterprets it. In the age of AI, we’re surrounded by massive, often inscrutable datasets. Artistic data visualization like this helps us reconnect with that information in a more human, visceral way. > This project highlights how real-time data visualisation can bridge the gap between abstract information and human perception, making it more accessible to a broad audience. What other invisible systems around us are just waiting to be made visual—and maybe even beautiful? [Read the original article →](https://www.avinteractive.com/news/display-content/live-hospital-data-visualisations-combine-art-with-medicine-26-03-2025/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-47) --- *TECHNOLOGY IN MUSIC* --- ![Apple Music Classical Adds Time-Synced Listening Guides](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e518ca4c-7d4b-4887-9128-27e210c027f5.jpg) ## Apple Music Classical Adds Time-Synced Listening Guides Apple Music Classical just added a feature that quietly rewires how we listen. As reported by TUAW, the latest 2.2 update introduces time-synced listening guides — real-time commentary that highlights shifts in instruments, form, and key moments in the music as you hear them. The update also includes curated editorial stations and personalized recommendations, but for me, it’s the listening guides that stand out. I’m not a classical music expert. I listen with interest, but I often feel like I’m missing the story behind the notes. This kind of guided experience helps fill in the blanks without slowing you down. It reminds me of something I’ve been playing with on the visual arts side: using AI to turn museum wall text into spoken audio guides. These are custom, contextual, and deeply personal — my own handheld docent. > “These updates transform a regular listening session into a guided musical journey,” said Apple Music Classical’s Global Director, Anjali Malhotra. What if every piece of music — or art — came with its own living, evolving context? [Read the original article →](https://www.tuaw.com/2025/03/27/apple-music-classical-adds-time-synced-listening-guides/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-47) --- *DESIGN* --- ![Switzerland’s New Passport Is a Masterpiece of Precision, Technology, and Design](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_13c7035a-085c-47de-8f4d-01d22e584b6c.jpg) ## Switzerland’s New Passport Is a Masterpiece of Precision, Technology, and Design Switzerland’s new passport, featured recently on *Moss and Fog*, is a layered blend of security tech and visual elegance. Each page showcases topographical illustrations that double as anti-counterfeiting measures—UV-reactive inks, microtext, and biometric chips make this document nearly impossible to fake. It’s not just a passport—it’s part map, part machine, part museum piece. My take? The Swiss have always had a thing for secrecy—banking codes, discreet vaults, and the kind of privacy that hasn’t always aged well. But here, they’ve flipped that impulse into something constructive. This passport doesn’t just secure identity; it turns the very idea of privacy into visual poetry. If hiding something is an art, this is the gallery. > When I see a travel document rendered with this much care, I can’t help but think: maybe the Swiss are finally using their obsession with privacy to make something inclusive—an object that protects without vanishing into shadows. What if more bureaucratic tools looked like this—designed to be both secure and seen? [Read the original article →](https://mossandfog.com/switzerlands-new-passport-is-a-masterpiece-of-precision-technology-and-design/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-47) --- *ART & SCIENCE* --- ![COLLISION ENSURES REACTION Getty PST: Art and Science Collide](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_64a7cd43-6159-4810-9e44-887ce4cb22fd.jpg) ## COLLISION ENSURES REACTION Getty PST: Art and Science Collide The piece in *Artillery Magazine* by a curator involved with Getty PST ART offers a rare inside view of how more than 20 Southern California exhibitions tackled the uneasy, often raw meeting point of art and science. From AI-powered coffee readings to Indigenous technologies and biotech installations, the work was wildly diverse—sometimes chaotic, sometimes prophetic—but always shaped by a shared urgency. What struck me most is how this initiative, meant to bridge art and science, was born out of political hostility toward both. The Trump era’s dismissal of expertise forced the Getty to act, but now, artists and scientists alike are having to scramble for funding in a hyper-polarized environment. That’s not new for the arts—we’ve lived in this scarcity mindset for decades. But for scientists, this is unfamiliar territory. > “It is telling that an arts institution would not ask a similar question about the benefit of collaboration for artists... Art and science are a conversation, not a collision.” I’ve seen this firsthand working with nonprofits whose projects are stalled or shuttered because the skill of fundraising now demands navigating a minefield of cultural alignment tests. How do we rebuild support for shared knowledge in a country where even curiosity is seen as political? [Read the original article →](https://artillerymag.com/collision-ensures-reaction/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-47) ![Norman Rockwell Commemorates Gemini Program With Grissom and Young](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d855462f-6a77-4f4d-b0fb-2663d4ba5e45.jpg) ## Norman Rockwell Commemorates Gemini Program With Grissom and Young In this feature from NASA, we learn how Norman Rockwell was commissioned to paint *Grissom and Young*, depicting astronauts Gus Grissom and John Young suiting up for their Gemini 3 mission in 1965\. Rockwell worked directly with NASA, who even lent him a real Gemini spacesuit to get the details right. It’s part of a broader art initiative NASA started in 1962, which also included artists like Annie Leibovitz and Andy Warhol. I’ve seen hundreds of archival NASA photos from the Apollo program—most of them were stiff, technical shots with minimal emotion. Sure, there were a few gems. But that’s what makes NASA’s embrace of artists like Rockwell so powerful. His painting doesn’t just document a moment—it makes you feel it. The human tension before liftoff, the quiet intensity in the eyes of the astronauts—those things don’t always come through in a Kodak frame. > A few years ago, I had the pleasure of working with a photography collector who had amassed a vast trove of NASA images from the Apollo space program. Most of these photos were pretty run-of-the-mill, boring chronicles of technology and space travel in those days, though there were obviously many stunning exceptions. The idea that NASA also collects art and hired painters like Norman Rockwell to chronicle these missions adds an element and a dimension that space photographs taken in the 1960s by the astronauts themselves often do not communicate. What would it mean today if tech companies documented their work through the eyes of working artists, not just engineers? [Read the original article →](https://www.nasa.gov/image-article/norman-rockwell-commemorates-gemini-program-with-grissom-and-young/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-47) ![Planetarium Films & the Evolution of Immersive Astronomy Experiences](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d88b57aa-1673-483a-9e6d-e67ab7db796c.jpg) ## Planetarium Films & the Evolution of Immersive Astronomy Experiences The team at *Blooloop* recently interviewed Cyril Birnbaum, head of the planetarium at Universcience, about how these celestial theaters have evolved from mechanical star projectors to full-blown immersive domes. Now powered by 8K laser systems and real-time simulators, places like the Cité des sciences et de l’industrie in Paris are blending astronomy with digital art, music, and even humor. It’s not just about the stars anymore—it’s about storytelling, collaboration, and creating shared emotional experiences under the dome. What caught my eye is the way these systems are quietly redefining what we expect from science education. It’s cinematic, sure—but also poetic, weird, and sometimes even irreverent. I love that a show about Galileo’s life might resemble a nightclub set. That’s not dilution—that’s expansion. > “Planetarium sessions in the past resembled stargazing evenings under the night sky,” says Birnbaum. “Today, some films are as realistic as science-fiction movies like *Interstellar*.” Could the future of immersive storytelling be circular, domed, and collective instead of flat and isolated? [Read the original article →](https://blooloop.com/museum/in-depth/planetariums-evolution/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-47) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![How Technologies Applied in Florence Are Revolutionising Fresco Conservation](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_71117553-f953-495f-abd8-996af362e1e3.jpg) ## How Technologies Applied in Florence Are Revolutionising Fresco Conservation In *The Art Newspaper*, Julia Halperin gives us a fascinating look into how scientists and restorers in Florence are using advanced, non-invasive technologies to protect the Brancacci Chapel frescoes. Microwave reflectometry, infrared thermography, and digital holography are now part of the conservator’s toolkit—helping to identify cracks and detachments hidden deep inside centuries-old plaster. This blend of science and preservation is not just about saving the art; it’s about understanding how it was made. I’ve always been a little obsessed with art restoration. The mix of fear and finesse that goes into tapping a 600-year-old fresco with your fingers—it’s both terrifying and beautiful. But let’s be honest: intuition can only go so far. Bringing hard data into the process doesn’t ruin the magic; it gives those instincts something solid to work with. > “Although detachments are often recognised by the tap test, this method is time-consuming... and its accuracy of execution and interpretation is too discretionary and subject to the individual skills and experience of the restorers,” says researcher Cristiano Riminesi. Could this kind of tech eventually help preserve less-famous works in small towns and overlooked buildings, too? [Read the original article →](https://www.theartnewspaper.com/2025/03/18/how-technologies-applied-in-florence-are-revolutionising-fresco-conservation?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-47) --- *THE LAST WORD* --- Thanks for joining me on this exploration of how art and science continue to inspire and inform each other. These connections feel especially important in our increasingly polarized world, where both artistic and scientific endeavors face similar challenges. I'd love to hear which story resonated with you most or if you've encountered other examples of this powerful intersection. Your perspectives always add richness to these conversations. Until next time, Juergen ### Creating With or Against the Machine: Artists Who Challenge AI URL: https://theintersect.art/issues/46/ Last updated: 2026-07-18T16:07:47.000Z Hi there, This week, I'm exploring the complex relationship between AI and artistic expression through several fascinating angles. We're looking at how artists like Holly Herndon and Trevor Paglen are creating truly original work by engaging deeply with AI systems rather than just using them as tools. We also examine how AI is reshaping photography's relationship with truth and reality, and why Turin's Share Festival is taking an "ALL-Natural" approach this year. I was particularly struck by Herbie Hancock's refreshing perspective on AI—he actually thanks his digital assistants, believing our interactions with AI shape its development. You'll also find my thoughts on LG shutting down its NFT marketplace and a powerful exhibition of digital art by transgender and nonbinary artists responding to anti-trans legislation. ## Sign up for The Intersect "The Intersect" examines the reciprocal influences of technology and the arts Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. --- *AI IN VISUAL ARTS* --- ![If We Fully Engage With How Generative AI Works, We Can Still Create Original Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_40f229ca-c48c-463a-8af8-80e508fc5348.jpg) ## If We Fully Engage With How Generative AI Works, We Can Still Create Original Art AI-generated art is at a crossroads, and as The Conversation explores, the real challenge isn’t just legal—it’s conceptual. The piece examines how artists like Holly Herndon and Trevor Paglen aren’t merely using AI tools but actively interrogating their mechanisms. They manipulate datasets, expose biases, and disrupt the assumptions baked into generative models. It’s a stark contrast to the flood of AI-generated content that prioritizes speed over intent. There’s a crucial distinction between artists who use AI as a shortcut and those who engage with its underlying structures. The latter approach is what’s truly needed—artists who dissect, challenge, and reshape these systems rather than just feeding prompts into them. > AI doesn’t “create” in any conscious sense; it recombines data in ways determined by its training. The most interesting work happening in AI art now is from those who recognize this and treat the process itself as their medium. IMHO: Important to make a clear distinction between those artists who casually use AI to generate yet more images and those who critically investigate the operative logic of AI. [Read the original article →](https://theconversation.com/if-we-fully-engage-with-how-generative-ai-works-we-can-still-create-original-art-251993?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-46) --- *PHOTOGRAPHY* --- ![How AI Is Reshaping the History Of Photography](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_07491549-4424-4a6a-a196-fe74da978647.jpg) ## How AI Is Reshaping the History Of Photography Fred Ritchin’s new book, *The Synthetic Eye: Photography Transformed in the Age of AI*, explores how artificial intelligence is altering not just how we create images, but how we perceive and understand them. As covered in *ArtNews*, Ritchin traces photography’s shift from an index of reality to something more fluid—raising questions about truth, authorship, and the sheer scale of image production today. The real challenge isn’t whether AI-generated images will replace photography; it’s whether we can develop the literacy to tell the difference. The flood of synthetic visuals isn’t slowing down, and without a critical eye, we risk losing our grip on what’s real and what’s fabricated. > "We must prepare for a transformative 'age of AI' in which boundaries blur between synthetic and camera-born images, in which we are obliged, as everyday critics and engagés of visual culture, to make sharper distinctions between them. Failing which we are damned by our illiteracy." If photography is no longer bound by reality, how should we then capture what our understanding of reality is? [Read the original article →](https://www.artnews.com/art-in-america/aia-reviews/ai-photography-history-fred-ritchin-synthetic-eye-thames-hudson-1234736164/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-46) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![Turin’s Share Festival Goes “ALL-Natural”](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c2a15849-c729-40bd-98f6-5fcd63b2ab3b.jpg) ## Turin’s Share Festival Goes “ALL-Natural” Turin’s Share Festival, covered by *HOLO*, takes an “ALL-Natural” approach this year, exploring the intersection of ecology and technology. Curated by Bruce Sterling and Jasmina Tešanovic, the festival highlights artists like Livia Ribichini, whose work *Kinesintesi* contrasts traditional farming techniques with their AI-generated interpretations. It’s a direct look at how digital systems consume, replicate, and redefine natural processes. I’ve always been drawn to juxtaposition—the tension between what something is and what it is not. Ribichini’s piece leans into this contrast, placing human agricultural rituals next to machine perception. > “A thing is what it is, but it is only in relation to what it is not.” My old photography professor drilled this into us. Seeing ancient agricultural gestures refracted through an AI lens makes that lesson feel more relevant than ever. When AI starts juxtaposing with tradition, what can we learn about the past, as well as the future? [Read the original article →](https://www.holo.mg/stream/share-festival-turin-all-natural/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-46) ![Jazz Icon Herbie Hancock's Intriguing Philosophy About AI: Humans Should Show It Kindness](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_42143ae3-9f70-4cf5-b6c8-b84e321ece3a.jpg) ## Jazz Icon Herbie Hancock's Intriguing Philosophy About AI: Humans Should Show It Kindness Herbie Hancock, the jazz legend known for pushing musical and technological boundaries, recently shared his perspective on AI with the BBC. Rather than fearing it, he welcomes AI with an open mind—and even a little politeness. He makes a habit of saying “thank you” to AI assistants like ChatGPT and Siri, arguing that treating AI like a human fosters positive interactions. Hancock believes AI could help us become more ethical and compassionate rather than accelerating our worst tendencies. There’s an important idea here: AI learns from us. Its patterns of interaction reflect how we engage with it. If we approach AI with cynicism or hostility, we train it to mirror that behavior. > "AI continues to be trained through its interaction with humans. This suggests that the golden rule—treat others as you want to be treated—applies to our interactions with AI as well." If AI reflects our values, what kind of future are we shaping through the way we treat it today? [Read the original article →](https://www.good.is/herbie-hancock-artificial-intelligence-kindness/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-46) ![What does OpenAI really want from Trump?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d4e71025-ba74-4085-858f-322b3b9a63ed.jpg) ## What does OpenAI really want from Trump? The Verge's Tina Nguyen examines OpenAI's recent proposal to the Trump administration, revealing a concerning power play that directly impacts artists. The proposal seeks to loosen copyright restrictions for AI training data under the guise of competing with China, while simultaneously pushing to override state-level AI regulations—particularly California's SB 1047 that would hold AI companies liable for damages. This maneuver represents a troubling development for creative professionals. Tech giants are leveraging national security concerns to reshape copyright law outside normal legislative channels, potentially stripping artists of their intellectual property protections. > I believe this sets a dangerous precedent. The excuse that such an approach is necessary to prevent Chinese dominance in the AI space seems particularly cynical. This situation demonstrates how artists, who typically do not engage with or pay close attention to AI, can still be profoundly impacted by behind-the-scenes lobbying efforts. Should fundamental copyright protections be sacrificed on the altar of technological progress, or do we need to recognize that proper governance requires thoughtful legislation rather than executive orders driven by industry lobbying? [Read the original article →](https://www.theverge.com/policy/632174/openai-trump-proposal-regulation?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-46) --- *FEATURED* --- ![Our Own Report: The State of Artificial Intelligence In The Arts](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_261fe1a9-b84b-4c8e-b65b-c41688300d52.jpg) ## Our Own Report: The State of Artificial Intelligence In The Arts Better understand the present and future of AI in the Arts with my 45-page report "The State of AI in the Arts 2025." Explore trends, insights, and projections. As the publisher of [**The Intersect**](https://cur.at/4FUF62Q?ref=theintersect.art) and our companion [**Substack publication**](https://cur.at/WmDQVgv?ref=theintersect.art), I've spent years observing the complex relationship between technology and artistic expression. This report emerged from countless conversations with artists who flatly reject AI, technologists who dismiss traditional art, and cultural institutions caught in between. The polarization is real, but so is the opportunity for understanding. [Read the original article →](https://stateofai.theintersect.art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-46) --- *CREATOR PLATFORMS AND TOOLS* --- ![With NFT Digital Art Buzz Now Just a Faint Hum, LG Shutting Down Its Display-Focused Art Lab](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b1d1be02-68f1-41db-a811-3aed12b6e1b1.jpg) ## With NFT Digital Art Buzz Now Just a Faint Hum, LG Shutting Down Its Display-Focused Art Lab LG is shutting down its NFT marketplace, LG Art Lab, less than two years after launching it. As reported by *Sixteen:Nine*, the company cited the "evolving NFT space" as the reason for its closure. This comes as no surprise—NFT hype has largely faded, and the idea of integrating an NFT marketplace into a TV never seemed particularly compelling. Samsung also had a similar initiative, though its current status remains unclear. I’ve always believed digital display technology has real potential for digital artists, but tying it to NFTs was never the right approach. The core idea—being able to showcase high-resolution digital art on a rotating basis—still holds value, but the execution wasn’t there. > The display technology is there, but the form factor of a TV does not lend itself. And I had hoped that LG and Samsung would evolve more solutions in that space. What would a truly useful digital display for artists look like? [Read the original article →](https://invidis.com/sixteen-nine/2025/03/24/with-nft-digital-art-buzz-now-just-a-faint-hum-lg-shutting-down-its-display-focused-art-lab/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-46) --- *ART AND POLITICS* --- ![Rewriting Digital Art in Nonbinary Code](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_dc2b98a2-0774-4700-a179-cd032a6b6525.jpg) ## Rewriting Digital Art in Nonbinary Code "Rewriting Digital Art in Nonbinary Code," featured in Hyperallergic, examines *Queering Digital: Artists in Response to Anti-Trans Legislation*, an exhibition at the Pacific Design Center. Curated by Steve Galindo and Jamison Edgar, the show presents work from transgender, nonbinary, and genderqueer artists confronting the rising wave of anti-trans policies in the U.S. Through software, installations, and mixed media, these artists refuse to be erased, making their presence undeniable in an increasingly hostile political climate. It’s a familiar cycle. Fringe communities are the first to be targeted when authoritarianism gains momentum. The majority stays silent, thinking it won’t affect them—until it does. By the time their own freedoms are in jeopardy, the damage is done. These artists aren’t just fighting for their own visibility; they’re serving as the early warning system for society at large. > "First, fringe communities are targeted, while everyone else acquiesces and says nothing. By the time the general populace becomes upset about their own rights being infringed and their own incomes and well-being being affected, it's typically too late." So the question is: will people listen now, or will they only wake up when it’s their turn? [Read the original article →](https://hyperallergic.com/rewriting-digital-art-in-nonbinary-code-pacific-design-center/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-46) --- *THE LAST WORD* --- Thanks for spending time with these stories that sit at the intersection of technology and creativity. I'm constantly amazed by how this space evolves, revealing new questions about our relationship with machines and with each other. I'd love to hear your thoughts on any of these topics—what resonated with you? What challenged you? Your perspective enriches this ongoing conversation about where art and technology might take us next. Until next time, Juergen ### Creativity in the Crossfire: Artists, Platforms, and a Changing Industry URL: https://theintersect.art/issues/45/ Last updated: 2026-07-14T17:05:57.000Z Hi friends, This week, I’ve put together a fascinating range of stories highlighting the intricate and sometimes thorny intersections of art and technology. First, we explore Geoffrey Pugen’s "Webtology: Prisms," a visually stunning mix of digital textures and salvaged materials that raises questions about the meaning of technology-driven art. Then, I take a closer look at Spotify’s $10 billion payouts to the music industry and unpack the stark inequalities that persist for independent creators. We’ll also examine the growing tension between artists and AI, with platforms quietly exploiting creative content, and how tools like Glaze and Nightshade are helping artists fight back. And if you’re curious about AI’s attempts to tackle ancient philosophy, there’s a piece about HumanDesign.ai—a system claiming to merge mysticism with machine learning. Lastly, I highlight an all-women-led game art studio redefining outsourcing and a thought-provoking exhibition in Amsterdam that confronts the eerie "ghosts" of AI-generated imagery. --- *ART NARRATIVES* --- ![Webtology: Prisms by Geoffrey Pugen at MKG127](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_545239da-b06f-4d0d-ab3b-c33684861e6e.jpg) ## Webtology: Prisms by Geoffrey Pugen at MKG127 Geoffrey Pugen’s *Webtology: Prisms* at MKG127, as described in *Thisispaper*, reconstructs digital debris into layered, speculative landscapes. Using AI-generated textures, 3D modeling, and salvaged materials, Pugen’s work blends past and present, collapsing utopian sci-fi visions into fragmented digital artifacts. His video sculptures—a black hole and a crystal—symbolize entropy and renewal, questioning how technology shapes our perception of time, decay, and transformation. I’ve seen a lot of exhibitions lately that throw AI, AR, and VR into the mix, often with vague commentary on "technology’s impact" or "digital futures." The materials and themes of *Webtology: Prisms* are intriguing, but I keep coming back to a few questions: What’s the guiding principle behind this kind of curation? What value is being added? Is this pushing the conversation forward—or just remixing familiar aesthetics? > "Is this a word salad merely inviting clicks, or is there something more substantial here?" Where is the line between meaningful critique and visual spectacle in tech-based art today? [Read the original article →](https://www.thisispaper.com/mag/webtology-prisms-geoffrey-pugen-mkg127?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-45) --- *TECHNOLOGY IN MUSIC* --- ![Spotify Paid More Than Ten Billion Dollars to the Music Industry in 2024](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f1703f92-ec9c-4f97-a54a-6de1e267f52d.jpg) ## Spotify Paid More Than Ten Billion Dollars to the Music Industry in 2024 Spotify’s Loud & Clear report boasts a record $10 billion payout to the music industry in 2024, as covered by CBC. That sounds impressive—until you dig deeper. While 1,500 artists earned over $1 million, the vast majority are still making pennies per stream. And for songwriters? The numbers are even worse. Spotify’s model benefits labels and top-tier artists, but independent musicians and writers are left scrambling. Exposure is great, but it doesn’t pay the rent. Meanwhile, Spotify’s CEO Daniel Ek cashed out $376 million in stock last year—more than all U.S. songwriters combined made from the platform. > “Spotify continues to announce royalty payout numbers that distort the infinitesimal amount that ends up going to songwriters,” said David Israelite, president of the National Music Publishers’ Association. How do we fix a system that thrives on artist-driven content but leaves most creators struggling? [Read the original article →](https://www.cbc.ca/news/entertainment/spotify-artists-songwriters-royalties-1.7481854?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-45) --- *AI IN VISUAL ARTS* --- ![New AI Bullshit Artists Have to Put Up With – Spring 2025 Edition & How to Protect Your Art Against AI](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_b818185f-1a68-4590-9014-9de6f2f38cdb.png) ## New AI Bullshit Artists Have to Put Up With – Spring 2025 Edition & How to Protect Your Art Against AI Julia Bausenhardt’s latest piece calls out the creeping AI policies on platforms like Pinterest and Skillshare. Pinterest is now using saved images to train AI, and Skillshare is quietly allowing AI companies to analyze teachers' video content. While both offer opt-outs, there’s little guarantee they’ll be honored. The article also revisits tools like Glaze and Nightshade that help artists safeguard their work from being scraped into AI datasets. This trend of platforms shifting towards AI exploitation isn’t surprising, but it is exhausting. Artists are increasingly leaving Instagram for smaller, less exploitative spaces like Bluesky and FOTO, seeking communities where their work isn’t just fodder for algorithms. > “Don’t put your art in billionaire data silos like Instagram.” How much longer will artists tolerate the slow erosion of control over their own work before abandoning these platforms entirely? [Read the original article →](https://juliabausenhardt.com/new-ai-bullshit-artists-have-to-put-up-with-spring-2025-edition-how-to-protect-your-art-against-ai/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-45) --- *SUBSTACK* --- ![Did you know we are on Substack?](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_fc82ec1b-7d14-464e-9525-d1d06d387216.png) ## Did you know we are on Substack? Want to delve deeper into the captivating interplay between art and technology? I’ve expanded The Intersect on Substack to include more extensive long-form articles that delve into how technology influences artistic expression and how creativity catalyzes innovation. These in-depth explorations are entirely free and serve as a complement to our weekly newsletter. 👉 Join the conversation on Substack [Read the original article →](https://theintersectofartandtech.substack.com/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-45) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![HumanDesign.ai Claims to Merge "Ancient Wisdom With Modern Technology"](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_0a82aa09-e8a8-47f0-b546-72b520fd84dc.jpg) ## HumanDesign.ai Claims to Merge "Ancient Wisdom With Modern Technology" HumanDesign.ai, a UK-based platform featured on TrendHunter, claims to merge astrology, the I Ching, Kabbalah, and quantum physics into an AI-powered system that reveals a person's inherent strengths and life purpose. It’s marketed as a tool for self-discovery, making this once niche framework more widely accessible. But when ancient wisdom meets machine learning, how much of the original depth is preserved? I’m always skeptical when a tool promises transformation through automation. The richness of these mystical traditions comes from contemplation, personal interpretation, and lived experience. Can an algorithm truly distill that? Or does it flatten something deeply human into a neatly packaged digital fortune cookie? > "A transformative system that fuses elements from astrology, the I Ching, Kabbalah, and quantum physics to provide a detailed blueprint of an individual's inherent strengths, challenges, and life purpose." Makes me wonder about the difference between over-promising and under-delivering versus under-promising and over-delivering. Which category do you think this falls into? Would love to hear—have you tried these AI-driven self-discovery tools? Did they resonate or just skim the surface? [Read the original article →](https://www.trendhunter.com/trends/human-design?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-45) --- *DEFINITELY NOT AI* --- ![Mother Design's Global Rebrand of Scribd Positions It as the Antidote to AI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9e0bc8e7-f14c-48d0-adfe-6409be454d74.jpg) ## Mother Design's Global Rebrand of Scribd Positions It as the Antidote to AI Mother Design’s rebrand of Scribd, covered by *Creative Boom*, positions the platform as an antidote to AI-generated noise. Scribd, long a resource for deep reading, now leans into its role as a trusted source for serious information seekers. The redesign embraces a scholarly aesthetic, drawing from physical archives to emphasize research and understanding over shallow, algorithm-driven summaries. I’ve been familiar with Scribd for years, especially in podcasting, where having reliable reference materials is essential. Their ambition to promote democratic access to information is bold, but in a digital world increasingly dominated by AI-generated content, it’s also necessary. Whether their approach resonates widely remains to be seen, but I respect the intent. > The idea of a platform positioning itself as a curator of authentic knowledge, rather than just another content aggregator, is compelling. We need spaces that reward curiosity instead of just feeding engagement algorithms. Can a brand identity really shift public perception in an era of information overload? [Read the original article →](https://www.creativeboom.com/news/mother-designs-global-rebrand-of-scribd-positions-it-as-the-antidote-to-ai/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-45) --- *GAMING* --- ![Indomi Studio: An All-Women-Led Team in the Art Gaming Industry](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_add7afc8-90b5-49ea-82c9-07f9d79c6554.jpg) ## Indomi Studio: An All-Women-Led Team in the Art Gaming Industry Indomi Studio, an all-women-led game art outsourcing firm based in Armenia, is making waves in the gaming industry. PlayStation Universe highlights how this team is reshaping industry norms, proving that high-quality game art doesn’t require massive in-house teams. Their work spans concept art, 3D modeling, and animation, serving studios worldwide. I love seeing women-led teams thrive in game development, especially in outsourcing. Too often, the art side of gaming is overshadowed by tech-heavy narratives, but studios like Indomi remind us that visual storytelling is just as crucial. Supporting diverse studios like this doesn’t just mean better representation — it enriches the creative landscape. > "Outsourcing in gaming has long been a necessity, but what Indomi Studio proves is that a specialized, independent team can bring a unique artistic voice to the table while still meeting industry demands." What other underrepresented creative teams are out there reshaping the industry behind the scenes? [Read the original article →](https://www.psu.com/news/indomi-studio-an-all-women-led-team-in-the-art-gaming-industry/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-45) --- *VIRTUAL AND AUGMENTED REALITY IN ART* --- ![XR at SXSW 2025: Expanding the Boundaries of Immersion](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d6855019-96d8-4e4f-af76-6ed91de8a446.jpg) ## XR at SXSW 2025: Expanding the Boundaries of Immersion SXSW’s XR showcase continues to push the boundaries of immersive storytelling, as covered in [Forbes](https://cur.at/cIzBoQ8?ref=theintersect.art). From haptic-driven VR narratives to large-scale dome projections, this year’s lineup featured deeply personal and politically charged works. Cameron Kostopoulos’ *In the Current of Being* used haptic feedback to make participants physically feel the experiences of an electroshock conversion therapy survivor, while *All I Know About Teacher Li* turned censorship and digital activism into an interactive experience. I still have to remind myself what XR actually stands for—extended reality, a mix of virtual, augmented, and mixed reality. While those immersed in the industry know it well, SXSW demonstrated how far the medium has expanded beyond the niche tech crowd. > "This shift allowed more attendees to engage without the throughput limitations of individual VR headsets." That’s a big deal. The bottleneck of traditional VR is that only a few people can experience it at a time. These multi-user, non-headset installations open new possibilities for accessibility and audience engagement. Are these experiences storytelling, technology, or something entirely new? [Read the original article →](https://www.forbes.com/sites/charliefink/2025/03/15/xr-at-sxsw-2025-expanding-the-boundaries-of-immersion/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-45) --- *EXHIBITIONS & EVENTS* --- ![Amsterdam’s Upstream Gallery Haunted by Machine Intelligence](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b8ec7739-d1b9-4480-a576-a88298529faa.jpg) ## Amsterdam’s Upstream Gallery Haunted by Machine Intelligence Amsterdam’s Upstream Gallery is hosting *Ghosts*, a new exhibition curated by Anne de Jong, which examines AI-generated entities that exist in a liminal space between real and unreal. Featuring works by artists like Holly Herndon, Mat Dryhurst, and Jonas Lund, the show explores the eerie presence of machine-generated figures that mimic human traits while remaining fundamentally alien. HOLO Magazine covers how the exhibit interrogates the ways AI reflects and distorts humanity. We often talk about the "uncanny valley" here at *The Intersect*—that uneasy spot where something looks almost human but feels disturbingly off. AI-generated faces and voices are no longer just unsettling imitations; they’re becoming part of our visual and cultural landscape. This exhibition digs deeper, not just into how AI mimics us, but how its distortions expose hidden biases, ghost labor, and the uncomfortable truth that these systems reinforce past human decisions. > “Yet the ghostly appearances of people in AI-generated imagery have an uncanny quality: they seem human yet feel profoundly unfamiliar. They reveal how AI looks back at us, reflecting humanity like a funhouse mirror. This uncanny character extends beyond just images to the mysterious workings of the "black box" that generative AI systems represent.” Are we becoming numb to these digital ghosts, or do they still haunt us in ways we don't yet understand? [Read the original article →](https://www.holo.mg/stream/upstream-gallery-amsterdam-ghosts/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-45) --- *THE LAST WORD* --- Thanks for spending time with me exploring these stories. I truly appreciate your curiosity and engagement with the ever-shifting dialogue between art and technology. If you have thoughts, questions, or even your own stories to share, I’d love to hear from you—this space thrives on your perspectives. Let’s continue to push the conversation forward and uncover what lies beneath the surface of these fascinating intersections. Until next time, keep asking questions and seeking out the unexpected. Warmly, Juergen ### Artistic Purpose in a Digital Age: More Than Just Technical Spectacle — Issue Number 44 URL: https://theintersect.art/issues/44/ Last updated: 2026-07-14T17:06:20.000Z Hi there, This week's collection explores how technology is reshaping artistic experiences across multiple disciplines. From the BBC Philharmonic's innovative "Augmented Orchestra" that transforms the traditional concert experience to Zachary Corzine's hyper-realistic digital flowers questioning our relationship with nature, I've gathered stories that highlight fascinating intersections. I'm particularly struck by the contrast between Christie's AI art auction success and the growing conversation about handmade versus AI-generated art. Rather than seeing these as opposing forces, perhaps we should consider how they might coexist and influence each other—much like photography and painting have done for generations. --- *TECHNOLOGY IN MUSIC* --- ![Philharmonic Sessions: The Augmented Orchestra](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7cd6a714-6095-406a-b717-bb3c9fa45780.jpg) ## Philharmonic Sessions: The Augmented Orchestra Later this month, the BBC Philharmonic Orchestra is staging something different at Aviva Studios, as covered by *Manchester Wire*. *Philharmonic Sessions: The Augmented Orchestra* isn’t just another symphony performance—it’s an immersive experience where the audience moves freely among musicians spread across three large platforms. At the center is the UK premiere of Anna Clyne's *PALETTE*, a concerto that fuses orchestral performance with live electronic processing, crafted alongside sound designer Jody Elff. I love going to the Philharmonic, and that experience has remained largely unchanged for me over the years. But this? This is something else. The idea of manipulating live orchestral sound in real time and blending it with augmented audio techniques is intriguing. It challenges what we expect from a concert hall performance. > "Philharmonic Sessions: The Augmented Orchestra will offer audiences an intimate and transformative musical experience as they are surrounded by musicians, immersed in sound, light, and the dynamic energy of live performance." — Adam Szabo, BBC Philharmonic Director Will this change how we experience live classical music, or is it just a fleeting experiment? [Read the original article →](https://manchesterwire.co.uk/the-bbc-philharmonic-brings-an-its-augmented-immersive-orchestra-to-aviva-studios/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-44) --- *FILM & VIDEO* --- ![Technology and Nature Merge in Zachary Corzine’s Otherworldly ‘Faux Flora’](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_267434a7-4dad-4bff-8545-91c1a293e0e3.jpg) ## Technology and Nature Merge in Zachary Corzine’s Otherworldly ‘Faux Flora’ Zachary Corzine’s *Faux Flora*, featured on Colossal, explores the uneasy relationship between technology and nature. Using tools like Cinema4D, Houdini, and Octane, Corzine crafts hyper-realistic digital flowers that mimic organic growth but exist in an entirely artificial space. His work raises a key question: Can digital art help us reconnect with nature, or does it only highlight how far we’ve drifted from it? I find *Faux Flora* compelling because it doesn’t just imitate nature—it questions it. The digital flowers feel organic yet unnatural, familiar yet alien. Corzine isn’t trying to replace the real, but rather, to remind us of what we stand to lose. > "As climate change and environmental destruction continue, this project is both a love letter and a means to explore how technology can be used not to replace nature but hopefully reconnect us with it in new and meaningful ways," Corzine explains. Does digital art like this bring us closer to nature, or does it underline our growing detachment? [Read the original article →](https://www.thisiscolossal.com/2025/03/zachary-corzine-faux-flora/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-44) --- *AI IN VISUAL ARTS* --- ![QUICK Q & A: How Can Artists and Galleries Work Together to Educate the Public on the Importance of Hand Made Art Over AI Art?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_106aef85-3a78-4ea6-997a-33727d0bd809.jpg) ## QUICK Q & A: How Can Artists and Galleries Work Together to Educate the Public on the Importance of Hand Made Art Over AI Art? Beautiful Bizarre Magazine raises the question of how artists and galleries can educate the public on the value of handmade art over AI-generated work. It assumes that AI art poses a threat to traditional craftsmanship, positioning the two as opposing forces. But is that really the case? To me, this argument feels off. AI-generated works are just another addition to the long history of art movements. We’ve seen this before—abstract expressionists weren’t scrambling to prove their worth when pop art emerged. The arrival of a new medium doesn’t erase the significance of what came before. It expands the conversation. > The idea that handmade art needs defending against AI is like saying photography invalidated painting. It didn’t. It challenged it, changed it, and inspired new ways of seeing. AI is no different. Instead of drawing battle lines, why not explore how both can coexist and influence each other? [Read the original article →](https://beautifulbizarre.net/2025/03/06/quick-q-a-ai-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-44) --- *PHOTOGRAPHY* --- ![Xiaomi Unveils Modular Magnetic Lens That Turns Smartphones Into Digital Cameras at MWC](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_65f9f24a-8e5a-4b03-a16d-975dea4aecdf.jpg) ## Xiaomi Unveils Modular Magnetic Lens That Turns Smartphones Into Digital Cameras at MWC Xiaomi just introduced a modular magnetic lens at MWC, designed to clip onto the back of a smartphone and transform it into a digital camera. As reported by *Designboom*, this accessory allows for lossless RAW data transfer, hinting at serious photographic potential. But with no production date announced, it's still a concept waiting to materialize. I’ve been down the gear-heavy road—large format cameras, DSLRs, and an arsenal of lenses. But a year ago, I ditched it all for the iPhone. My wife Robyn and I do a lot of travel photography, and carrying a full kit just wasn’t practical anymore. I added the Fjorden Grip, now backed by Leica, which has been refining mobile photography in fascinating ways. > Leica has always been synonymous with quality optics, so seeing them double down on smartphone photography is intriguing. If Xiaomi’s modular lens delivers, it could be another step toward making mobile devices legitimate tools for serious photographers. Does this modular approach bring back the best of DSLR flexibility, or is it just another gadget destined for the drawer? [Read the original article →](https://www.designboom.com/technology/xiaomi-modular-magnetic-lens-turns-smartphones-digital-cameras-mwc-2025-03-03-2025/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-44) ![Photographer Combines Infrared Photography, AI, and Augmented Reality for Moving Series on Marginalization](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_19991d91-c716-4c80-a77c-66b154204bde.jpg) ## Photographer Combines Infrared Photography, AI, and Augmented Reality for Moving Series on Marginalization Tobi Shinobi’s *Blood on the Leaves*, featured in *My Modern Met*, is a perfect example of how technology can serve storytelling rather than just aesthetics. Using infrared photography, AI animation, and augmented reality, Shinobi creates a layered exploration of marginalization and visibility. His images don’t just capture moments—they reveal what’s often unseen, both in light and in society. Lately, I’ve seen a flood of AI-generated images focused solely on achieving a polished, consistent style. While that has its place, it’s rare to find artists using AI to deepen the emotional and narrative weight of their work. Shinobi isn’t just applying tech for tech’s sake—he’s using it to invite viewers into his perspective, making them engage rather than just observe. > “At its core, technology allows me to do what I've always done—challenge how people see. The more immersive the experience, the harder it is to ignore the story.” What other ways can AI serve storytelling rather than just surface aesthetics? [Read the original article →](https://mymodernmet.com/tobi-shinobi-blood-leaves-infrared/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-44) --- *ART AND POLITICS* --- ![Whistleblowing and Female Power](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cdcd7de1-1edf-4e76-9a12-922959dcf276.jpg) ## Whistleblowing and Female Power Tatiana Bazzichelli’s talk, highlighted in *NERO Editions*, explores the role of female whistleblowers in exposing military misconduct and the power of building trust networks. She connects figures like Chelsea Manning and Reality Winner to broader conversations on AI-driven warfare and the role artists play in making these systems visible. The event, part of *Digital Delights & Disturbances*, underscores how whistleblowing intersects with media, activism, and art. I love the contradiction in that title—delight and disturbance. It’s the same tension we see between art and technology, between AI’s promise and its risks. Bazzichelli frames whistleblowing as a challenge to dominant narratives, and I see a parallel for artists. It’s not just about female power, though that’s crucial here. It’s about all artists taking on the responsibility of questioning, exposing, and making visible what gets buried by institutions and algorithms. > "Art, like whistleblowing, becomes a means of raising awareness about sensitive issues, generating in-depth analysis within the framework of social and political action." If AI is shaping the way conflicts are fought and reported, shouldn’t artists be just as relentless in shaping how we see and understand these changes? [Read the original article →](https://www.neroeditions.com/whistleblowing-and-female-power/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-44) ![Lin-Manuel Miranda Faces Criticism Following Hamilton’s Cancellation](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_eea5aab6-95a7-4b60-a12f-9cd3e841f692.jpg) ## Lin-Manuel Miranda Faces Criticism Following Hamilton’s Cancellation Lin-Manuel Miranda’s decision to cancel *Hamilton* at the Kennedy Center has sparked debate, as covered by *Disney Fanatic*. Miranda cited discomfort with the venue's new leadership under Trump appointees, stating the production “wasn’t for Trump and his crowd.” This move highlights an ongoing struggle over political influence in the arts, with supporters seeing it as a stand for artistic integrity and critics calling it exclusionary. The arts in America have long been a space for commentary rather than alignment. Institutions like the Kennedy Center were not designed to serve a political agenda, but recent shifts suggest an increasing entanglement of art and state power. > Over the last 50 years, we’ve seen art function as critique—challenging politics from the outside, not becoming a tool within it. Now, we’re witnessing a shift where institutions are being reshaped to serve ideological purposes rather than artistic ones. Should artists reclaim independent spaces, or is this entanglement now unavoidable? [Read the original article →](https://www.disneyfanatic.com/hamilton-cancels-kennedy-center-performances-over-trump-policies-rl1/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-44) --- *EXHIBITIONS & EVENTS* --- ![Christie’s AI Art Auction Reportedly Exceeds Expectations](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_06fb2333-86b6-46a2-ac57-51f7953954f1.jpg) ## Christie’s AI Art Auction Reportedly Exceeds Expectations Christie’s recent AI art auction, “Augmented Intelligence,” went ahead despite protests from nearly 6,500 artists, as reported by TechCrunch. The show pulled in over $700,000, with Refik Anadol’s “Machine Hallucinations — ISS Dreams — A” leading at $277,200\. Some see this as a win for AI-generated art, but I’m skeptical. It’s not that the work itself was groundbreaking—it’s that this was the first time AI-generated pieces had their own auction at Christie’s. Novelty drives attention, and collectors love the idea of owning a piece of “history.” But will this excitement last? That depends on whether AI-generated art can mature beyond spectacle and hold the same emotional and conceptual weight as traditionally created work. > I have to believe that this was not due to brilliant curation techniques, but simply the sense of novelty around it being the first auction to feature AI-generated work in general. I think this fad may fade until and unless the work is as mature as non-AI-generated work and triggers the same amount of meaning. Do these results signal real acceptance of AI art, or are collectors just chasing the latest trend? [Read the original article →](https://techcrunch.com/2025/03/06/christies-ai-art-auction-reportedly-exceeds-expectations/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-44) --- *THE LAST WORD* --- Thanks for joining me in exploring these technological and artistic crossroads this week. I find it fascinating how these stories reveal not just technical innovations but deeper questions about our values and creative futures. I'd love to hear your thoughts on any of these pieces—which resonated with you most? Drop me a line if something sparked your interest or if you've encountered other examples where art and tech are colliding in unexpected ways. Best, Juergen ### Cultural Preservation or Digital Gimmick? Technology's Role in Traditional Art Forms URL: https://theintersect.art/issues/43/ Last updated: 2026-07-14T17:06:42.000Z Hi there, This week's collection (once again) explores the complex dance between technology and artistic expression. I've gathered stories ranging from social media's influence on art visibility to robot dogs performing traditional lion dances. There's an intriguing look at how AI is reshaping artistic creation through Clemens Maurer's work, and Adobe's careful approach to AI tools that enhance rather than replace the photographer's vision. I'm particularly struck by the ongoing tension between adaptation and authenticity. From Nathan Beck's examination of sublime moments in art to the technical research on reconstructing brushstrokes algorithmically, each piece raises questions about control, intention, and the future of creative expression. What's the right balance between embracing new tools and maintaining artistic integrity? --- *FILM & VIDEO* --- ![The Impact of Social Media Algorithms on Art Visibility](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_929887dd-27b4-464b-b032-96ae7e2b0653.jpg) ## The Impact of Social Media Algorithms on Art Visibility Social media algorithms shape the visibility of artists’ work, as explored in this [FAD Magazine article](https://cur.at/AY35gEh?ref=theintersect.art). Platforms reward engagement, pushing artists to create content that fits the algorithm’s demands—favoring video over static images, frequent posting, and interaction-heavy content. The challenge? Artists must balance creative integrity with the need to stay seen. I take issue with one core recommendation: that artists should prioritize video to stay visible. Yes, platforms push reels and time-lapses, but forcing artists to package their work for social media trends feels like a compromise. Does a painter really need to perform for the algorithm? > Social media offers reach, but at what cost? Artists end up creating *content* instead of *art*. A carefully composed piece might get buried while a quick process video thrives. The algorithm doesn’t prioritize quality—it prioritizes what keeps users scrolling. What’s the tipping point between adapting to digital trends and losing creative autonomy? [Read the original article →](https://fadmagazine.com/2025/02/10/the-impact-of-social-media-algorithms-on-art-visibility/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-43) --- *AI IN VISUAL ARTS* --- ![Mat Dryhurst Suggests Anti-Ai Art Activists Are Being Naive](https://theintersect.art/content/images/2026/07/2025-03-03_17-19-41.jpg) ## Mat Dryhurst Suggests Anti-Ai Art Activists Are Being Naive Hyperallergic covers the controversy surrounding Christie’s AI art auction, where over 4,000 artists have signed a letter urging its cancellation. The protest raises concerns over AI models trained on copyrighted works without consent, reigniting the debate about intellectual property and automation’s impact on creative labor. Mat Dryhurst, one of the participating artists, argues that demands to dismantle existing AI models are unrealistic, labeling opponents as naïve. I see echoes of past technological disruptions here. Artists have always had to adapt to new tools—photography, digital painting, now AI. But adaptation doesn’t mean surrender. There’s a difference between integrating new technology and being exploited by it. > "They believe AI models should be opt-in only and retrained from scratch... This simply will not happen, for better or worse." If AI is inevitable, then the real fight isn’t stopping it—it’s shaping its rules. So, who gets to decide? [Read the original article →](https://hyperallergic.com/thousands-call-on-christies-to-nix-ai-art-auction/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-43) ![Digital Daydreamer: Clemens Maurer’s AI-Enhanced Artistic Vision](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c7ff8f71-5ec8-46dd-9d4d-de4c3efc116e.jpg) ## Digital Daydreamer: Clemens Maurer’s AI-Enhanced Artistic Vision Clemens Maurer’s approach to AI in art is featured in *Digital Daydreamer: Clemens Maurer’s AI-Enhanced Artistic Vision*. A seasoned graphic designer and art director, Maurer uses Midjourney not just for convenience but as a creative tool, letting AI introduce unexpected elements into his work. His background in photography and fine arts informs his process, blending traditional artistic principles with AI-generated imagery. What stands out to me is how this aligns with the way prompt photography functions. It’s not just about getting an image—it’s about directing it. The art director mindset becomes crucial here. The real challenge isn’t generating an image, but knowing *why* you want to see it and what you're trying to communicate. > Prompt photography rarely works in one step. It takes countless iterations, adjustments, and hours of guidance to shape an image that either matches your vision or surprises you in an inspiring way. That’s what makes it compelling. So what happens when AI-generated images don’t just assist but start defining artistic intention? [Read the original article →](https://partfaliaz.com/2025/02/27/digital-daydreamer-clemens-maurers-ai-enhanced-artistic-vision/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-43) --- *GAMING* --- ![Art You Can Be a Part Of: Designers Discuss Finnish Video Game Alan Wake and the Evolution of Games](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_25fe5144-31dd-4745-84cc-c9cde06f7005.jpg) ## Art You Can Be a Part Of: Designers Discuss Finnish Video Game Alan Wake and the Evolution of Games Alan Wake 2 isn’t just a game—it’s a layered, interactive work of art. In an article from *ThisisFINLAND*, Johanna Teelahti explores how Remedy Entertainment blends storytelling, music, live-action film, and even street art into their gaming experiences. Sam Lake, Remedy’s creative director, argues that video games belong in the same artistic space as film and literature, pushing the limits of what interactive storytelling can achieve. I’ve always believed that art is at its most powerful when it invites participation, and video games take this to another level. Unlike a film, where you passively watch events unfold, a game like *Alan Wake 2* lets you step inside the story. You don’t just witness a mystery—you unravel it. > “Finding a hidden clue or catching on to information that could have just gone sailing by makes people feel special. Video games manage to do that in a way that film, television and books can't really replicate.” — Molly Maloney, Remedy Entertainment How do we define art in an era where the audience isn’t just observing but co-creating the experience? [Read the original article →](https://finland.fi/arts-culture/art-you-can-be-a-part-of-designers-discuss-finnish-video-game-alan-wake-and-the-evolution-of-games/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-43) --- *DANCE* --- ![Robot Dogs Dressed Up as Lion Dance “performers,” Moving in Sync and Taking the Spotlight](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a99f54ac-b3cb-482d-900f-4b1f1b29f735.jpg) ## Robot Dogs Dressed Up as Lion Dance “performers,” Moving in Sync and Taking the Spotlight Boston Dynamics-style robot dogs, dressed in traditional lion dance costumes, are now performing synchronized routines, as reported by **South China Morning Post**. These robotic performances are capturing attention, blending technological precision with cultural heritage. The question is: does this enhance tradition or merely mimic it? There’s something familiar about this—a grounded version of the drone light shows we see at major events. The engineering behind the choreography is impressive, but does it carry the same cultural significance as a real lion dance? Or is it simply spectacle for spectacle’s sake? > Watching these robotic lions, I can’t help but wonder—are we preserving heritage or replacing it with something shinier? Some might argue that even if the soul of the tradition shifts, keeping it in public memory matters. Others might see it as novelty without substance. Are we witnessing evolution, or just an expensive gimmick dressed in nostalgia? [Read the original article →](https://www.youtube.com/watch?v=w9mYBxlO5oM&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-43) --- *CREATOR PLATFORMS AND TOOLS* --- ![Adobe Lightroom and Camera Raw Are Getting Two New AI Editing Features](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8960949b-5622-4eda-a0d3-600d99aa1ef7.jpg) ## Adobe Lightroom and Camera Raw Are Getting Two New AI Editing Features Adobe is rolling out new AI-powered tools in Lightroom and Camera Raw to simplify repetitive editing tasks, as reported by Digital Trends. The two standout features are Adaptive Profiles, which intelligently adjusts tones and colors on a per-image basis, and Distraction Removal, which eliminates unwanted elements like reflections or photobombers. Adobe’s approach continues to center on refining workflows rather than generating entirely new content. I appreciate Adobe’s measured approach to AI in photography. Unlike other platforms that aggressively push generative AI, Adobe has focused on making small but meaningful enhancements that keep the photographer in control. Color grading, exposure tweaks, and cleanup tasks are now smarter, but they don’t override creative intent. > It’s interesting to see AI handling distractions, but there’s a fine line between helpful automation and losing artistic control. What qualifies as a “distraction”? That’s a decision I’d rather not leave entirely to an algorithm. How much do we trust AI to make aesthetic choices for us? [Read the original article →](https://www.digitaltrends.com/computing/adobe-lightroom-camera-raw-getting-two-new-ai-editing-features/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-43) --- *EXHIBITIONS & EVENTS* --- ![Arresting Reality](https://theintersect.art/content/images/2026/07/2025-03-03_17-22-09.jpg) ## Arresting Reality Nathan Beck’s *Arresting Reality* explores how art, nature, and design create moments of the sublime—those experiences that overwhelm and expand our perception. From the towering presence of a Rothko painting to the immersive scale of Olafur Eliasson’s *The Weather Project*, Beck connects these encounters to the vastness of nature, music, and even the quiet details of daily life. Technology can enhance these moments, but it should never replace them. The danger lies in automation flattening our sense of wonder, reducing creativity to predictable outputs. Aesthetic experiences—whether standing before a massive canvas or savoring the texture of a well-crafted object—are essential for deepening our empathy and connection to the world. > "The output of generative AI continues to improve, but what is beauty to an algorithm? What is taste?" Are we letting technology inspire us—or just making it easier to avoid real engagement? [Read the original article →](https://nathanbeck.eu/essays/arresting-reality/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-43) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Sketch & Paint: Stroke-By-Stroke Evolution of Visual Artworks](https://theintersect.art/content/images/2026/07/polymash_Sketch__Paint_Stroke-by-Stroke_Evolution_of_Visual_A_0ff610e1-435b-40cc-bd88-b2ec61f5a053_2.jpg) ## Sketch & Paint: Stroke-By-Stroke Evolution of Visual Artworks "Sketch & Paint: Stroke-by-Stroke Evolution of Visual Artworks," a recent study by Vikram Jamwal on arXiv, explores how algorithms can reconstruct the sequence of brushstrokes in a digital artwork. By converting pixel images into vector-based parametric curves, the researchers attempt to infer how a piece was created, revealing hidden layers of the artistic process. This kind of research fascinates me because it hints at how AI might be used for authentication and provenance. We've covered how AI outperforms auction houses in verifying artworks, and this is another step in that direction. If an algorithm can reverse-engineer the strokes behind a painting, it could provide deeper insights into an artist’s technique—or even flag inconsistencies in forgeries. > The article is a bit too technical for me, but I appreciate the concept of an algorithm that can retroactively figure out how a piece of art was created. Imagining a machine recreating the steps of a master painter is both eerie and exciting. If AI can reconstruct brushstrokes, how long before it can generate convincing fakes that even experts struggle to detect? [Read the original article →](https://arxiv.org/abs/2502.20119?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-43) --- *THE LAST WORD* --- Thanks for joining me in exploring these intersections where technology and art collide. Your thoughtful engagement with these ideas helps shape the ongoing conversation about our creative future. I'm curious about your experiences with these evolving tools and technologies – which ones enhance your creative process, and which feel like compromises? Drop me a line if you'd like to share your perspective. All the best, Juergen ### From Pixels to Policies: Artists Changing the World URL: https://theintersect.art/issues/42/ Last updated: 2026-07-14T17:07:03.000Z Hi all, This week, I’ve pulled together stories that illustrate the evolving dialogue between technology and art—sometimes harmonious, sometimes contentious. From how Spotify's algorithms might be narrowing our musical horizons to a Berlin exhibition that pits traditional photography against AI-generated images, there’s plenty to unpack. We also explore a rogue art smuggling mission to the moon, a photographer proving his craft against AI skepticism, and a blockchain project tackling authenticity in the art world. Plus, there’s a fascinating look at artists embedding themselves into government policy to bring creativity into areas like water management. Each story asks us to reflect on what we value most about creativity in the digital age. --- *TECHNOLOGY IN MUSIC* --- ![How Spotify Is Dulling Our Musical Taste](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_bafa7a4f-c095-4667-bd7d-20918394d658.jpg) ## How Spotify Is Dulling Our Musical Taste Spotify’s algorithms make music discovery effortless—but at what cost? The *LA Review of Books* dives into how AI-driven recommendations are flattening our musical taste, pushing us toward comfort and familiarity rather than novelty and challenge. The process of actively seeking out new music, they argue, is essential to deepening our appreciation of it. We've recently featured this topic, but I thought this article did a good job explaining the phenomenon in more detail. I’ve noticed this myself. Playlists keep me in a loop of similar sounds, reinforcing what I already like rather than nudging me toward something unexpected. There’s a reason why stumbling upon a song in a record store or through a friend’s recommendation feels different—it’s discovery with intent, not passive consumption. > "Algorithms don’t surprise us, they reassure us. And that’s the problem. The best musical moments come from the unexpected—from hearing something strange, even uncomfortable, and growing to love it." When was the last time you truly *searched* for music instead of letting an algorithm decide? [Read the original article →](https://lareviewofbooks.org/article/you-are-having-fun/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-42) --- *PHOTOGRAPHY* --- ![Photo Journal Monday: RIVALS – Photography vs. Promptography](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8e75eaef-c0d2-433a-a646-49ab8662bc4e.jpg) ## Photo Journal Monday: RIVALS – Photography vs. Promptography The exhibition *RIVALS - Photography vs. Promptography*, curated by Boris Eldagsen and covered by *Photo Journal Monday*, sets up a direct confrontation between traditional photography and AI-generated imagery. With 18 photographers and 18 AI artists, the show explores what remains irreplaceable in photography and what AI can contribute to image-making. Running in Berlin next March as part of the European Month of Photography, it questions perception, authenticity, and artistic intent. This space fascinates me. I’ve followed surrealist Photoshop artists and photographers for years—those who built dreamlike images through analog collage, darkroom techniques, or digital compositing. Now, AI tools produce similar results in seconds. But the work that resonates most with me still has some level of hands-on manipulation. > "Prompt photography alone, without further intervention, rarely carries the same weight. The best AI-assisted pieces I’ve seen integrate real photography or undergo additional creative steps beyond a single text prompt. That’s where it moves from technical trick to artistic process. " Where do you draw the line between automation and art? [Read the original article →](https://museemagazine.com/culture/2025/2/17/photo-journal-monday-rivals-photography-vs-promptography?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-42) --- *DEFINITELY NOT AI* --- ![Think This Space Station and Moon Photo Is AI? Meet the Photographer.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f8bf07bb-6d5f-436b-8d3e-6a599eee322e.jpg) ## Think This Space Station and Moon Photo Is AI? Meet the Photographer. Andrew James McCarthy’s latest photograph, as covered by *Mashable*, captures the International Space Station passing in front of the moon’s Shackleton Crater. The image is so crisp and surreal that many assumed it was AI-generated. But McCarthy, an accomplished astrophotographer, meticulously planned the shot, enduring equipment failures and harsh conditions to capture it. His work highlights the precision and patience required in astrophotography—something an AI can’t replicate. We’ve reached a point where extraordinary photography is met with skepticism. Instead of marveling at incredible images, many default to assuming they’re synthetic. > "Here's another example of how jaded we are becoming in terms of supposing that great imagery we see might have been created by AI. This would not have been the case in the past, and I'm not sure whether it has led to a greater appreciation of original photography, or whether we are just so jaded now that the original work seems uninspired by comparison." Does this doubt push photographers to work harder, or does it make their achievements feel less meaningful? [Read the original article →](https://mashable.com/article/international-space-station-moon-photo?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-42) ![Apollo 12 Left a Piece of Art on the Moon.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a1ce3ee8-46b8-4f33-92a3-7f7938df4f09.jpg) ## Apollo 12 Left a Piece of Art on the Moon. Apollo 12 carried more than just scientific instruments to the moon—it also smuggled a piece of art. As reported in an article on [r/space](https://cur.at/P5uc2kQ?ref=theintersect.art), a small ceramic tile etched with artwork by artists like Andy Warhol and Robert Rauschenberg was secretly placed on the lunar surface. Unlike recent, deliberate efforts to send art into space, this one was unsanctioned by NASA and slipped onto the spacecraft without official approval. I got a chuckle out of the fact that the moon’s first unofficial art exhibit was essentially an act of creative smuggling. We tend to think of space-bound art as a modern concept, but artists were already finding ways to leave their mark beyond Earth decades ago—without waiting for permission. > The idea that a handful of artists managed to sneak their work onto a spacecraft and leave it on the moon feels like the ultimate statement of artistic rebellion. No gallery approval, no institutional backing—just pure, unapologetic expression, now sitting quietly on the lunar surface. So, if rogue artists were already staking claims on the moon in 1969, what does that say about the future of art beyond Earth? [Read the original article →](https://www.reddit.com/r/space/comments/1irmbiy/apollo%5F12%5Fleft%5Fa%5Fpiece%5Fof%5Fart%5Fon%5Fthe%5Fmoon/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-42) --- *ART AND POLITICS* --- ![Can Artists Change Government From the Inside Out?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_096ba457-997c-42d9-b4f4-c9d2bb51e7f4.jpg) ## Can Artists Change Government From the Inside Out? In *Next City*, Maylin Tu explores how artists like Amanda Lovelee are embedding themselves in government to influence policy with creativity. Lovelee, formerly an artist-in-residence at the Metropolitan Council, describes her approach: “I’m an artist and my medium is government.” Her work challenges the idea that art in public service is just decoration. Instead, it's a tool for reimagining policy, from transportation to water management, with bold, unexpected interventions. This is exactly the kind of cross-disciplinary experimentation that excites me. But let’s be honest—creativity in governance is a double-edged sword. While artists can bring fresh perspectives, not every self-proclaimed "visionary" should be shaping public policy. > "Policy writing is science fiction writing, right? It’s like dreaming of an unknown future. And who better to do that than artists?" What happens when the wrong kind of "artist" decides their medium is government? Imagine Elon Musk (who probably thinks of himself as a "government artist" trying his hand at urban planning. Terrifying. [Read the original article →](https://nextcity.org/urbanist-news/can-artists-change-government-from-the-inside-out?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-42) --- *EXHIBITIONS & EVENTS* --- ![PIVOTAL: Digitalism — British Art Fair](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ebf5cd80-e40c-4965-a10b-a6e356101d00.jpg) ## PIVOTAL: Digitalism — British Art Fair I recently had the chance to meet with filmmaker and digitalist Rebekah Tolley-Georgiou, who curated and launched "PIVOTAL: Digitalism" at the British Art Fair, as previously highlighted in our issue #17, and on their official blog. It was great to hear some of the details behind putting on this groundbreaking exhibition. It marked the first dedicated digital art section in the fair’s 36-year history, breaking attendance records and spotlighting the growing recognition of digital art as a legitimate movement in art history. What stood out to me was Rebekah’s take that digital art isn’t about replacing traditional mediums but continuing art’s evolution. It's not that AI or digital is the "future of art", an expression Rebekah dislikes. > "Instead, we positioned digital art as another movement in art history, not a replacement for traditional art," she said, drawing parallels to Impressionism and Surrealism. This framing challenges the perception of digital art as transient or secondary. Are we doing enough to position digital art as equal to traditional art? Or is there still a gap that needs bridging? (Image credit: X New Worlds, Ripple, 2024, Digital and AI, 105 x 70 cm) [Read the original article →](https://www.britishartfair.co.uk/british-art-news/pivotal-digitalism?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-42) --- *FUTURE TRENDS IN ART AND TECH* --- ![Bridging Tradition and Tech: SYNART's Blockchain Interview With Vitaliy & Elena Vasilieva](https://theintersect.art/content/images/2026/07/2025-02-19_17-18-42.jpg) ## Bridging Tradition and Tech: SYNART's Blockchain Interview With Vitaliy & Elena Vasilieva SYNART, a blockchain initiative founded by artists Vitaliy and Elena Vasilieva, tackles a major challenge in the art world—authenticity and fair valuation. Their interview, originally published on [SYNART’s website](https://cur.at/Cy8eKAz?ref=theintersect.art), highlights how blockchain can enhance, rather than replace, traditional art. By offering tools like digital authentication, tokenized ownership, and AI-driven valuation, SYNART aims to create a more transparent and equitable space for artists and collectors. Blockchain remains one of the most misunderstood technologies in the arts. Many see it as a threat, but it’s really a tool—one that can protect intellectual property, ensure fair pricing, and help artists establish market credibility. Platforms like SYNART provide practical ways to integrate blockchain without compromising artistic integrity. > “Blockchain is not a threat to art—it’s a tool that opens new possibilities. Start by registering your work on the blockchain for authenticity, explore tokenization and how it protects intellectual property, and use SYNART’s price oracle to grow your market value organically.” Are artists hesitant about blockchain because of its complexity, or is it the traditional art world’s resistance to change? [Read the original article →](https://www.contemporaryartcuratormagazine.com/home-2/vitaliy-elena-vasilieva?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-42) --- *THE LAST WORD* --- Thanks for reading and for being part of this journey into the intersections of art and technology. Your curiosity and engagement bring these conversations to life. If a particular story resonated with you—or if you have a completely different take—let me know. I’d love to hear your thoughts. Until next time, let’s keep questioning the ways creativity and tech shape each other, and ourselves. Warmly, Juergen ### The Tension Between Innovation and Tradition in Arts and Culture URL: https://theintersect.art/issues/41/ Last updated: 2026-07-14T17:07:22.000Z Hi all, This week’s stories ask important questions about how we consume, create, and preserve art in a rapidly changing world. From Spotify’s quiet shift toward algorithm-driven “functional music” that sidelines real artists, to Charleston’s bold attempt to merge street art with pedestrian safety, the intersection of creativity and technology continues to challenge our perspectives. We’ll also look at hidden narratives, like the secret portrait beneath a Picasso painting revealed by infrared technology, and revisit Carl Sagan’s iconic "Pale Blue Dot" photograph, which reminds us of the fragility of our shared existence. Plus, I’ve shared some personal reflections on the pressures of the creator economy, and we’ll explore how wildfires are reshaping art preservation in LA. There’s plenty to reflect on, so let’s get started. --- *TECHNOLOGY IN MUSIC* --- ![Spotify’s Illusion of Music Discovery and Choice](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cc41eed7-819b-4582-b0e0-4d677f03dd95.jpg) ## Spotify’s Illusion of Music Discovery and Choice Spotify’s algorithmic playlists promise discovery, but as *The Atlantic* highlights in a review of Liz Pelly’s *Mood Machine*, they mostly reinforce a loop of predictable recommendations. Worse, Spotify has taken things a step further—engineering its own "functional music" to populate these playlists. Instead of paying artists, the platform fills its mood-based lists with royalty-free tracks that mimic existing music, ensuring more profit for Spotify and less support for real musicians. > For me, the most disturbing part of this story is that Spotify hired their own music production companies to churn out quickly generated mood music to fill its recommended playlists. The reason? Royalties are much lower—or nonexistent—when Spotify produces the tracks itself, effectively cutting out the artists it's supposed to support. Suddenly, our playlists are filled with music that "fits" but doesn’t come from any recognizable artist in the real world. If discovery is just an illusion, our music tastes are gradually shaped by these curations, and what does that mean for the future of music? [Read the original article →](https://www.theatlantic.com/culture/archive/2025/02/mood-machine-liz-pelly-spotify-review/681636/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-41) --- *PUBLIC ART* --- ![Could Street Art Improve Downtown Charleston Pedestrian Safety? City Officials Think So.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9564480e-dc0c-4419-9853-b009405840c5.jpg) ## Could Street Art Improve Downtown Charleston Pedestrian Safety? City Officials Think So. Charleston’s creative twist on pedestrian safety caught my eye in Ali Rockett’s piece for *The Post and Courier*. The city is pursuing a $100,000 grant to transform a busy downtown intersection with street art, aiming to slow drivers and protect pedestrians and cyclists. Inspired by a similar project from 2018, the initiative channels Bloomberg Philanthropies' Asphalt Art Initiative, which has shown promising results in reducing collisions and improving driver awareness. I can’t help but wonder, though—how practical is this for cyclists? The zigzagging murals look stunning, but as someone who bikes regularly, I’d probably end up wobbling along, wondering if I’m more a hazard than the traffic. > "It’s a really cool opportunity to look at safety in a different way," Katie Zimmerman of Charleston Moves said. Are safety and aesthetics on a collision course here? Fun, yes—but also potentially a little nerve-wracking for us two-wheelers! [Read the original article →](https://www.postandcourier.com/news/charleston-pedestrian-safety-street-art-grant/article%5Ff6646c1a-df34-11ef-8ef2-bf011974d5e4.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-41) --- *IN DEPTH: ON MY SUBSTACK BLOG* --- ![The Involuntary Creator's Manifesto - by Juergen Berkessel](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_5c951f08-0a81-4b8a-8204-63a425dcbe21.jpg) ## The Involuntary Creator's Manifesto - by Juergen Berkessel In my recent post on Substack, “The Involuntary Creator’s Manifesto,” I explore my reluctance to identify with the “creator economy.” While platforms like Substack and social media push creators toward monetization and scaling, I’ve found these goals often drain the joy from creating and sharing. This manifesto stems from a deeper reflection on what it means to create without extraction or profit as the primary focus. And, please forgive the poetry format! For me, creating is an internal process—a need, not a strategy. Whether it’s music, art, or writing, I would create regardless of recognition or financial gain. This perspective feels increasingly out of step with systems designed to measure worth in metrics and revenue. > “I don’t see myself as a ‘creator’ chasing profits in the creator economy. Running a podcast agency, I saw how the push to monetize everything drained the joy from sharing content. For me, it’s about connecting with like-minded people, not finding customers.” Does creativity lose its essence when tied too closely to monetization? Or is there a sustainable path where joy and value can coexist? [Read the original article →](https://theintersectofartandtech.substack.com/p/involuntary-creators-manifesto?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-41) --- *PHOTOGRAPHY* --- ![The Pale Blue Dot at 35: The Making of an Iconic Photo](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8525c05c-997a-4191-8ef4-adfe0cf5b598.jpg) ## The Pale Blue Dot at 35: The Making of an Iconic Photo Thirty-five years ago, Voyager 1 captured one of the most profound images in human history—the "Pale Blue Dot." As IFLScience recounts, this final photograph was taken at Carl Sagan's insistence, a last look back before the probe continued into interstellar space. From 3.7 billion miles away, Earth was reduced to a mere fraction of a pixel, suspended in a sunbeam. Sagan understood the power of perspective. He fought for this image not just as a scientific curiosity but as a statement—a reminder of our fragility. That tiny dot contains everything we have ever known, yet we act as if our divisions and conflicts matter on a cosmic scale. > "It underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we've ever known." —Carl Sagan Looking at that image today, have we really learned anything from it? [Read the original article →](https://www.iflscience.com/the-pale-blue-dot-at-35-the-making-of-an-iconic-photo-78062?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-41) --- *ART & SCIENCE* --- ![Infrared Technology Reveals Secret Portrait Hidden Beneath Picasso Painting](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3f2e8fa2-42b5-4583-b4e1-563069c63ff5.jpg) ## Infrared Technology Reveals Secret Portrait Hidden Beneath Picasso Painting Picasso’s *Portrait of Mateu Fernández de Soto* has been hiding a secret for over a century. As reported by *My Modern Met*, conservators at The Courtauld Institute of Art used X-ray and infrared imaging to reveal a hidden portrait of an unknown woman beneath the surface. Likely painted just months earlier, this discovery sheds light on Picasso’s early years, when financial constraints often led him to reuse canvases instead of discarding them. The fact that technology can bring these buried layers to the surface is fascinating. It’s a reminder that paintings aren’t static objects—they evolve, full of revisions, second thoughts, and lost ideas. Seeing these hidden stages offers a glimpse into the artist’s process, something we rarely get to witness so intimately. > Artists constantly revise, rethink, and sometimes completely erase their work. This kind of archival scanning exposes those hidden decisions, revealing the moments where an artwork could have gone in an entirely different direction. It’s a kind of time travel through creativity. What other masterpieces might still be hiding ghostly remnants of past ideas beneath their surfaces? [Read the original article →](https://mymodernmet.com/hidden-picasso-portrait/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-41) --- *EXHIBITIONS & EVENTS* --- ![This Miami Museum Takes Visitors Though an Instagram-Ready Funhouse](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5ee798dd-c9b2-4aca-ab36-1fda4bffa126.jpg) ## This Miami Museum Takes Visitors Though an Instagram-Ready Funhouse The Associated Press recently highlighted the Paradox Museum in Miami’s Wynwood district, where math, science, and art collide in Instagram-perfect settings. Visitors navigate over 70 exhibits filled with optical illusions, interactive installations, and immersive photo opportunities. Executive Director Samantha Impellizeri describes it as a “funhouse meets education,” with themes tailored to reflect the local community. I find the concept of blending carnival funhouses with educational layers of math and science fascinating. It’s an experience that feels playful yet purposeful, engaging visitors of all ages. The added allure of leaving with unique social media content makes it approachable for families and younger crowds, potentially building curiosity for more traditional museums. > "We’re not going to be the same space in a year to three years from now,” Impellizeri explained, referring to the evolving exhibits that integrate new technologies and discoveries. Could this trend bridge the gap between entertainment and deeper, lasting engagement with the arts? [Read the original article →](https://www.fastcompany.com/91272201/this-miami-museum-takes-visitors-though-instagram-ready-funhouse?amp%3Butm%5Fcampaign=rss+fastcompany&%3Butm%5Fcontent=rss&%3Butm%5Fmedium=feed&%3Butm%5Fsource=rss&partner=rss&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-41) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Los Angeles Wildfires Tested the City’s Art Handling and Storage Infrastructure](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_99fc1025-3c5c-40d8-a387-2cc3fec2de0c.jpg) ## Los Angeles Wildfires Tested the City’s Art Handling and Storage Infrastructure The **Los Angeles wildfires** put the city’s art storage infrastructure to the test, as reported by *The Art Newspaper*. With collectors and galleries scrambling to protect their artwork, facilities like RW Holdart, Uovo, and Crozier saw a surge in demand, some fielding **five to ten times** their usual requests. While many artworks in storage remained safe, others were hastily packed into cars or left behind as homeowners prioritized personal safety. This reminds me of the **Asheville floods**, where artists had to rush their work upstairs to avoid water damage. The reality is, proper archival storage is **not cheap**, and most independent artists don't have access to high-security climate-controlled facilities. > "In climate emergencies like fires, hurricanes, and similar disasters, we don't often think about preserving artwork. It seems almost like in war zones, when people scramble to save cultural treasures before disaster strikes." If disasters keep escalating, do we need to rethink how we protect art outside of museums? [Read the original article →](https://www.theartnewspaper.com/2025/02/14/los-angeles-wildfires-art-storage-handling-logistics?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-41) --- *THE LAST WORD* --- Thanks for spending your time exploring these stories with me. It’s always a privilege to share these intersections of art and technology, where each story offers a glimpse into how creativity and innovation influence our world. If you have thoughts or questions, feel free to reach out—I’d genuinely love to hear from you. Let’s keep this conversation alive and growing, together. Warm regards, Juergen ### Slow Looking, Fast Tech: How AI is Reshaping Creativity URL: https://theintersect.art/issues/40/ Last updated: 2026-07-14T17:07:44.000Z Hi everyone, This week, I’ve curated stories that explore how artists and creators are navigating the nuanced intersection of AI tools and artistic expression. From Felipe Posada’s vibrant digital collages that bring 70s surrealism into the AI era to legal questions about creativity and copyright, we’re looking at how technology is reshaping the process of making and defining art. Also, this issue touches on the evolving role of photography in the age of AI—how we’re learning to balance skepticism with appreciation—and a thought-provoking piece on "slow looking" as a counter to our image-saturated culture. These stories are an invitation to pause, reflect, and consider the possibilities when art and technology collaborate. --- *TECHNOLOGY IN MUSIC* --- ![The Beatles Make History With AI-assisted Grammy Win for ‘Now and Then’](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a71eb444-5932-40ee-8dce-acdb4ac21ba8.jpg) ## The Beatles Make History With AI-assisted Grammy Win for ‘Now and Then’ The Beatles have made history yet again. As detailed in ReadWrite’s coverage, their AI-assisted track “Now and Then” earned them a Grammy for Best Rock Performance at the 2025 ceremony. This isn’t about AI composing music or generating Lennon’s voice. Instead, the AI-assisted process allowed producers to isolate and clean up John Lennon’s original vocals from the 1970s. It’s a demonstration of AI as a practical tool for tedious, technical work like audio restoration—something unimaginable decades ago. What fascinates me is the potential this holds for preserving cultural heritage. Imagine applying these tools to restore historic recordings, like the early operas of Caruso, where audio quality is often poor. This isn’t about altering history but rather bringing its essence back to audiences in ways we couldn’t before. > “AI isn’t a creator here—it’s a facilitator for preservation and restoration. That distinction matters more than most realize.” Do you think AI could be key to safeguarding our creative history? [Read the original article →](https://readwrite.com/beatles-ai-assisted-grammy-win-now-and-then/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-40) --- *AI IN VISUAL ARTS* --- ![70’s Era Surrealist Scenes by Felipe Posada](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3d608ac5-fc5c-4eea-af8c-6f041105fed8.jpg) ## 70’s Era Surrealist Scenes by Felipe Posada Artist Felipe Posada, working under the moniker "The Invisible Realm," brings the vivacious spirit of the 1970s into surrealist digital collages that defy reality. As featured on *Moss and Fog*, Posada combines instantly recognizable elements—vintage fashions, rainbow motifs, and idyllic leisure scenes—with surreal distortions. His work stands at the intersection of nostalgia and innovation, crafting dreamscapes that feel both rooted in the past and forward-thinking. What makes Posada’s process remarkable is his seamless integration of AI tools with digital artistry. It’s not just about automating creative tasks; it’s about using these tools as an extension of human creativity. > "Posada’s work exemplifies how AI in art isn’t a shortcut but a medium—one that, when paired with a clear artistic vision, can result in something wholly unique and deeply personal." Does Posada’s approach redefine where the line falls between digital tools and artistic authorship? [Read the original article →](https://mossandfog.com/70s-era-surrealist-scenes-by-felipe-posada/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-40) --- *IN DEPTH: ON MY SUBSTACK BLOG* --- ![The State of AI in the Arts Report: Artists, Technologists, and a Search for Common Ground](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e3af2cac-adc4-4cb0-af96-f3f4eb78fcfc.jpg) ## The State of AI in the Arts Report: Artists, Technologists, and a Search for Common Ground Earlier this week on *The Intersect* Substack, I launched **“The State of AI in the Arts Report 2023”**, an in-depth look at how artificial intelligence is reshaping the art world. This report dives into everything from the tech’s impact on artistic creation to its role in market shifts and the thorny questions of ethics and authorship. It’s a resource for anyone navigating the intersection of creativity and technology—artists, collectors, technologists, and beyond. What struck me most in putting this together is the growing polarization between traditional artists, cultural institutions, and tech creators. Each group seems locked in its own perspective, often at the expense of real dialogue. > “Traditional artists I speak with often shut down at the mere mention of AI. ‘I work with paper, with paint, with my hands,’ they tell me. ‘AI has nothing to do with real art.’” How much are we losing by staying in our silos instead of exploring the possibilities together? [Read the original article →](https://theintersectofartandtech.substack.com/p/the-state-of-ai-in-the-arts-report?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-40) --- *PHOTOGRAPHY* --- ![What Is Realism in the Age of AI?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_4ab39f35-b6a2-497f-a868-a6626e5bb5f1.jpg) ## What Is Realism in the Age of AI? In a recent piece from *Art in America*, the article "What Is Realism in the Age of AI?" questions what "real" even means in an era where generative models create and alter images with ease. It’s an idea that feels particularly resonant in today’s image-saturated world, where nearly everyone manipulates photos—whether by adding a filter or crafting something entirely new with AI tools. What strikes me is how our relationship with photography has evolved. We’re not naive anymore; we know images can be manipulated, and many of us have contributed to that manipulation ourselves. Yet, this awareness hasn’t fully eroded our trust in photography. Instead, we seem to hold two ideas at once: skepticism and appreciation. > "Viewers don’t necessarily approach images expecting visual transcripts of reality, but neither have they become fully disillusioned of photography’s promise to preserve a moment. Savviness and disavowal proceed together." So, where does this leave the artist? Are we leaning into this duality or resisting it? [Read the original article →](https://aperture.org/editorial/what-is-realism-in-the-age-of-ai/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-40) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![AI Art With Human “Expressive Elements” Can Be Copyrighted](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_6db240aa-eaa5-44f5-af59-831da1291688.jpg) ## AI Art With Human “Expressive Elements” Can Be Copyrighted The latest report from the U.S. Copyright Office, as covered by *Hyperallergic*, reexamines copyright protection for works involving AI tools. It concludes that artworks demonstrating "sufficient human creativity" can be copyrighted, provided humans determine or modify the expressive elements. This builds on earlier rulings, like the rejection of Jason M. Allen's *Théâtre d'Opéra Spatial*, which was deemed more attributable to MidJourney than his own creative input. The distinction between AI-assisted art and AI-generated art is critical, especially as tools like MidJourney and others blur these boundaries. If an artist uses AI as a tool—intentionally shaping, refining, or editing the outcome—that’s collaboration. But merely typing prompts? That’s delegation, not authorship. In my opinion, manipulating, combining, or assembling the results of generated images from prompts to further achieve artistic goals may be sufficient to qualify as art. > "Expressive elements" hinge on whether a human’s fingerprints are visible in the final output—a question that invites more nuance than legal standards often allow. But the question of if this results in "good art" or not is an entirely different one... [Read the original article →](https://hyperallergic.com/ai-art-with-human-expressive-elements-can-be-copyrighted/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-40) --- *DEFINITELY NOT AI* --- ![This Year, Make a Commitment to Understanding Your World Better: Practise the Art of Slow Looking](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5792b133-2816-44bd-b56a-32da9810575c.jpg) ## This Year, Make a Commitment to Understanding Your World Better: Practise the Art of Slow Looking In a recent article for *The Conversation*, the importance of "slow looking" was highlighted as a way to navigate our overstimulated visual culture. With manipulated and AI-generated images increasingly dominating our screens, the practice of pausing to truly see—whether art on a wall or visuals in daily life—has never been more crucial. Here’s my take: rushing through a museum—or life, for that matter—robs us of the depth that only time and attention can uncover. It’s not just about identifying what an image is, but asking what it *feels* like and why. Slowing down transforms a gaze into an experience, and yes, that includes the mundane moments, like noticing the shadows cast by your coffee mug. > “The act of slow looking develops visual literacy. It examines why certain images move us above others and what they say about our reality, values or beliefs.” – *The Conversation* What would happen if we approached everyday life with the same kind of thoughtful attention we reserve for a Rembrandt? [Read the original article →](https://theconversation.com/this-year-make-a-commitment-to-understanding-your-world-better-practise-the-art-of-slow-looking-240218?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-40) --- *FASHION* --- ![Surreal Fashion AI Imagery Created by Sarah Radcliff](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f00bf437-3d3b-425e-8a4b-1f416f694ea1.jpg) ## Surreal Fashion AI Imagery Created by Sarah Radcliff Sarah Radcliff’s stunning AI-generated fashion photography, highlighted in *Partfaliaz*, is reshaping our understanding of both surrealism and haute couture. Her work, which combines dreamlike aesthetics with avant-garde fashion, blurs the boundaries between reality and fantasy. By leveraging AI, Radcliff creates images that feel like high-fashion editorials but exist in an entirely imagined, digital space. It’s a fascinating intersection of creativity and technology that deserves attention. Fashion photography has always walked a fine line between commerce and art. Historically, while its primary purpose might have been to sell products, it has also shaped cultural narratives and provided a platform for pushing artistic and societal boundaries. Today, with tools like AI, that line feels even blurrier, offering opportunities for deeper exploration and experimentation. > Fashion photography’s role has always been dual: to persuade and to provoke. Yet, as Radcliff’s work shows, it can also be a space where art and technology collaborate to challenge our perception of the possible. If fashion photography is no longer confined to the material world, what does it mean for the future of fashion itself? [Read the original article →](https://partfaliaz.com/2025/01/31/surreal-fashion-ai-imagery-created-by-sarah-radcliff/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-40) --- *THE LAST WORD* --- Thanks for taking the time to engage with these stories. Your curiosity and willingness to explore these intersections mean a lot to me. If any of these topics sparked a thought or raised a question, I’d love to hear from you—what’s your take on AI’s role in art? Let’s keep this conversation going. Together, we can continue to uncover the evolving relationship between creativity and technology, and maybe even challenge some of the assumptions we hold about both. Warm regards, Juergen ### Art's Digital Metamorphosis URL: https://theintersect.art/issues/39/ Last updated: 2026-07-14T17:08:05.000Z Hi all, This week's stories once again explore how tech is reshaping our creative industries in unexpected ways. From an AI-powered documentary about Brian Eno that never shows the same cut twice, to Samsung's collaboration with Art Basel bringing curated art into living rooms, we're witnessing fascinating transformations in how we create and consume art. I'm particularly struck by the cultural preservation efforts of the Smithsonian and Internet Archive using blockchain technology. It raises important questions about protecting our digital heritage that I think will resonate with many of you. --- *FILM & VIDEO* --- ![AInsights: Lights, Camera, AI: How OpenAI and Google Are Reimagining Hollywood 2.0](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d56362d3-e97f-4c94-bb31-c5e2b5c5cb43.jpg) ## AInsights: Lights, Camera, AI: How OpenAI and Google Are Reimagining Hollywood 2.0 Brian Solis’ article, *"Lights, Camera, AI: How OpenAI and Google Are Reimagining Hollywood 2.0"* on his site, provides a fascinating breakdown of AI tools like OpenAI’s Sora and Google’s Veo 2\. These platforms promise to reshape filmmaking by enabling text-to-video workflows that democratize content creation. From storyboards to high-resolution outputs, Solis expertly details how these tools could impact roles like directors and screenwriters while also addressing challenges like creative authenticity and job security. Here’s my take: Solis does a great job illustrating the shifts these tools bring to Hollywood, not just in cost-saving or productivity, but in how they redefine creativity itself. The paradox is hard to ignore—AI is empowering storytellers while stirring debates over what “human creativity” really means. This transformation isn’t just technical; it’s cultural. > "Directors will find their role evolving with AI... Creative augmentation: AI serves as a tool to enhance, rather than replace, a director’s creativity." Solis reminds us that these tools aren’t the end of artistry—they’re the beginning of a new chapter. What do you think? Can art in a medium created by AI still feel truly human? [Read the original article →](https://briansolis.com/2025/01/ainsights-lights-camera-ai-how-openai-and-google-are-reimaging-hollywood-2-0/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-39) ![This Documentary About Brian Eno Changes With Each Viewing—and Is Already Altering How Movies Are Made](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2cf4d7bf-b6fc-4c8a-bff1-98bad39f119c.jpg) ## This Documentary About Brian Eno Changes With Each Viewing—and Is Already Altering How Movies Are Made Veteran filmmaker Gary Hustwit, known for *Helvetica* and *Rams*, redefines the documentary form with *Eno*. As detailed in, this AI-driven film about musician Brian Eno evolves with each viewing, drawing from 500+ hours of footage. With 70% of its content rearranged by a bespoke algorithm, no two screenings are alike. This project reflects Eno’s experimental ethos and generative approach, showcasing how technology can reshape storytelling itself. A documentary that changes with every screening? “So much for making movie recommendations to your friends, I guess.” It’s fascinating, though—this idea challenges the permanence of film as a medium. In a way, it’s cinema mirroring memory: fluid, imperfect, and subjective. > “There’s a freedom in just kind of stepping back and watching what it does,” Hustwit explains. Imagine surrendering control, letting the story unfold differently every time. Would you embrace this as art, or does the lack of a fixed narrative leave you disconnected? [Read the original article →](https://www.fastcompany.com/91263275/brian-eno-documentary-ai-changing-movies-24-hour-screening-gary-hustwit?amp%3Butm%5Fcampaign=rss+fastcompany&%3Butm%5Fcontent=rss&%3Butm%5Fmedium=feed&%3Butm%5Fsource=rss&partner=rss&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-39) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Before Accusing an Artist of Using AI, Read This](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e53b684c-9ad0-4018-8727-e49279b2c137.jpg) ## Before Accusing an Artist of Using AI, Read This AI art is stirring debates, and Sydney Butler’s piece from *How-To Geek* highlights an unexpected twist: the backlash against AI-generated images is spilling over onto human artists. The problem? It’s nearly impossible to reliably distinguish between human and AI creations. Even experts struggle, and tools that claim to detect AI often produce false positives. This complexity is reshaping how we view authenticity in art. Generative AI isn’t just about creating entire images. It’s also a tool artists use to refine their work—whether generating concepts, fixing details, or exploring new ideas. "AI," in this sense, is more like a brush or chisel in the hands of a digital artist. What matters is how it’s used, not whether it’s present. > "Falsely accusing someone of using generative AI…can destroy the reputation of upcoming artists, or at the very least dissuade them from sticking with their craft." — Sydney Butler If tech is part of the artist's toolbox, how do we redefine creativity without dismissing the tools? [Read the original article →](https://www.howtogeek.com/before-accusing-an-artist-of-using-ai-read-this/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-39) --- *AI IN VISUAL ARTS* --- ![Google “Cubism” These Days and You’ll Get a Bunch of AI-Generated Garbage](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_108ea565-5a1a-4845-8a6d-dd3eddcc8c58.jpg) ## Google “Cubism” These Days and You’ll Get a Bunch of AI-Generated Garbage AI-generated imagery is taking over search results for Cubism, as highlighted by Artnet’s recent piece, where platforms like Google and Bing now surface dubious works from CubismArtwork.com above genuine Picasso or Braque masterpieces. The site doesn’t just flood search engines with faux-Cubist posters and bot-written guides—it’s also a perfect example of how search algorithms fail to filter authentic art from AI imitations. This reminds me of the uproar when AI tools misrepresented history with fabricated works, like an imagined image of a black pope. These inaccuracies dilute artistic and cultural contexts. I agree with the author: this tidal wave of AI-generated “junk” desperately needs fixing. > "I’d love a Google switch to exclude AI-generated results altogether, but who knows if—or when—that will happen." Does this flood of AI imagery signal the beginning of a permanently diluted digital art history? [Read the original article →](https://news.artnet.com/art-world/cubism-ai-slop-google-2597531?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-39#new%5Ftab) --- *INTERACTIVE ART* --- ![The Rise of Interactive Entertainment: How Technology Is Reshaping Cultural Experiences](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9260a17d-a7f2-4534-a473-dea1c077f862.jpg) ## The Rise of Interactive Entertainment: How Technology Is Reshaping Cultural Experiences From immersive theatre to AI-driven art, The Upcoming’s recent article, *The Rise of Interactive Entertainment: How Technology is Reshaping Cultural Experiences*, dives into how technology is transforming the way we engage with culture. It highlights the integration of motion tracking, AI, and VR in everything from theatre productions to museum experiences—all designed to engage audiences in ways that traditional formats couldn’t. This resonates as I finalize [my own research report on artificial intelligence in the arts](https://cur.at/SH2LDDR?ref=theintersect.art). One recurring theme is how AI shifts the balance of creativity: "Are we enhancing human creativity or outsourcing it?" That question keeps surfacing in projects blending human input with machine learning, whether it’s for narrative-driven plays or AI-generated music. > “The real challenge isn’t innovation—it’s preserving the emotional depth that makes art meaningful while pushing these new technologies to enrich, not overshadow, it.” Are we, as creators and participants, prepared to navigate this evolving cultural landscape without losing the soul of the experience? [Read the original article →](https://www.theupcoming.co.uk/2025/01/22/the-rise-of-interactive-entertainment-how-technology-is-reshaping-cultural-experiences/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-39) --- *CREATOR PLATFORMS AND TOOLS* --- ![Art-Focused Technology Partnerships - The Samsung Art Store Spotlights a Partnership With Art Basel (TrendHunter.com)](https://theintersect.art/content/images/2026/07/The-Frame_Art-Store_PR_dl4-1-e1691500655783.jpg) ## Art-Focused Technology Partnerships - The Samsung Art Store Spotlights a Partnership With Art Basel (TrendHunter.com) Samsung's latest collaboration with Art Basel, highlighted by *TrendHunter.com*, brings an art-forward innovation to the living room with the Samsung Art Store. This partnership allows users of the Frame TV to access curated works from renowned institutions like MoMA. The display’s ability to adapt to ambient lighting underscores Samsung’s commitment to blending art and tech seamlessly. [In a recent post on my Substack](https://cur.at/MbrGEs0?ref=theintersect.art), I mentioned the Frame TV while discussing E-Ink displays. I praised the practicality of battery-powered frames but overlooked Samsung’s art subscription feature. Imagine a TV not as a screen, but as an evolving gallery—one that reshapes itself to suit the light and mood of your space. > "There’s something remarkable about the idea of art adapting to its environment. Samsung’s effort here is less about selling a TV and more about rethinking how we consume and experience digital art." Would you welcome dynamic, subscription-based art into your home, or does the concept feel too transactional? [Read the original article →](https://www.trendhunter.com/trends/samsung-art-stores?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-39) --- *ART AND POLITICS* --- ![Trump’s Impact on Popular Culture](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3f0993e4-e814-4d24-96c5-edfb5ce74548.jpg) ## Trump’s Impact on Popular Culture Politico’s recent roundtable, "How Donald Trump Transformed Mass Culture," explores the cultural shifts following Trump’s re-election in 2025\. From fashion trends like $400 American flag sweaters to corporations quietly retreating from DEI policies, the panel highlights how cultural elites and businesses are recalibrating to match a changing social and political climate. For me, these shifts feel eerily familiar. Growing up in Germany, I learned how quickly cultural elites adapted during the rise of authoritarian regimes. The rapid dismantling of the Weimar Constitution through entirely legal means, courtesy of Mr. H., left many Germans—artists, intellectuals, and business leaders—"going along to get along." Resistance was rare. > "It’s not surprising to see U.S. elites realigning themselves to this new reality. What’s more troubling is how easily societies can sleepwalk into autocracy, often in the name of pragmatism and conformity." Would we recognize history repeating itself if it happened in our own backyard? [Read the original article →](https://www.patheos.com/blogs/geneveith/2025/01/trumps-impact-on-popular-culture/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-39) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Smithsonian and Others Will Use Filecoin to Safeguard Digital Culture Heritage](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_76f58fd5-5d54-449e-97bb-1e3cd78446e4.jpg) ## Smithsonian and Others Will Use Filecoin to Safeguard Digital Culture Heritage The recent piece on *VentureBeat* highlights how the Filecoin Foundation is collaborating with institutions like the Smithsonian and Internet Archive to safeguard over 500,000 digital artifacts using decentralized storage. From Alexander Graham Bell’s experimental sound recordings to the Flickr Foundation’s most-viewed photographs, these efforts aim to ensure that cultural heritage doesn’t vanish into the void of corrupted files or obsolete hardware. This resonates deeply with me. As I’ve often said, we’ve been sleepwalking into a reality where digital art and assets are critically vulnerable. Hard drives crash. Servers fail. What happens to our culture when its artifacts exist only in fragile digital formats? It’s refreshing to see initiatives finally addressing this. > “Our mission is to preserve humanity's most important information,” says Marta Belcher of the Filecoin Foundation. It’s an ambitious promise, but one we desperately need in today’s digital-first world. Are we doing enough to make sure tomorrow’s artists inherit a digital legacy that lasts? [Read the original article →](https://gamesbeat.com/smithsonian-and-others-will-use-filecoin-to-safeguard-digital-culture-heritage/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-39) --- *THE LAST WORD* --- Thank you for joining me in exploring these intersections of art and technology this week. Your thoughts and perspectives on these developments mean a lot to me - they help shape future discussions and challenge my own assumptions. If any of these stories sparked ideas or questions, I'd love to hear from you. Until next week, keep creating and questioning. Best, Juergen ### When Machines Judge Art URL: https://theintersect.art/issues/38/ Last updated: 2026-07-14T17:08:27.000Z Hi all, This week's stories point to a clear shift in how we determine artistic value. AI authentication tools just doubled prices at Germann Auction House, while PxE's new holographic sensors are changing how our phones capture images. These developments raise questions about trust and authenticity in art. I'm sharing Sougwen Chung's work with robotic painting arms that respond to her brainwaves, and Bianca Tse's AI-enhanced reconstructions of Hong Kong. Both artists show how creative control evolves when humans and machines work together. --- *AI IN VISUAL ARTS* --- ![Bianca Tse’s Alternate Hong Kong](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5960e984-96fe-4fc4-9e8a-4d4843deec81.jpg) ## Bianca Tse’s Alternate Hong Kong Bianca Tse’s work, as featured on *Moss and Fog*, reimagines Hong Kong through a blend of AI-generated imagery and digital artistry. Her pieces capture the tension between nostalgia and dystopia, showcasing neon-lit streets, precarious cityscapes, and surreal yet familiar scenes. It’s a response to globalization’s rapid reshaping of her city—part preservation, part innovation. From my perspective, what makes these works compelling isn’t just the AI component. There’s more here than pressing “generate.” Tse’s process involves layering techniques like Photoshop and other tools to refine her vision. This added complexity elevates the work, allowing her narrative and artistry to shine through the technology. > I believe art like this only resonates when intention, storytelling, and technical skill converge. AI may assist, but the artist’s fingerprints must remain visible to ground the work emotionally and conceptually. Do these images preserve culture, or are they artifacts of a culture already transforming? [Read the original article →](https://mossandfog.com/bianca-tses-alternate-hong-kong/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-38) --- *IN DEPTH: ON MY SUBSTACK BLOG* --- ![AI in Art Authentication: Trust, Skepticism, and Marketing](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9e275566-f250-4b71-bb7c-11a64d2b361e.jpg) ## AI in Art Authentication: Trust, Skepticism, and Marketing Recent sales at Germann Auction House are stirring up conversations about AI and art authentication. As reported by George Nelson in *ARTnews*, the auction featured a Marianne von Werefkin piece authenticated solely by AI from Art Recognition and sold for nearly $17,000—double its high estimate. On my Substack, I explored how this moment reflects deeper shifts in how auction houses use AI not just as a tool, but as part of their marketing narrative to build trust and sell credibility. To me, this isn't just about verifying art. It's about the optics. AI is being positioned as a modern seal of approval, but that trust is a fragile commodity. > "The answer isn't AI alone or human expertise alone. It's the combination of both that will shape the future of authentication and trust in the art world." How much of this trust is earned, and how much is sold? [Read the original article →](https://theintersectofartandtech.substack.com/p/ai-in-art-authentication-trust-skepticism?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-38) --- *PHOTOGRAPHY* --- ![This Tiny Sensor Could Be the Future of Smartphone Photography](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f739435d-a822-4684-8352-7ce1e62dcee5.jpg) ## This Tiny Sensor Could Be the Future of Smartphone Photography The recent CES announcement of PxE’s holographic sensor technology, as covered in Nirave Gondhia’s piece for *Digital Trends*, showcases a leap in smartphone photography. This tiny sensor abandons traditional imaging methods, instead treating light as waves, which allows for unprecedented precision in depth information—even down to micro-movements. It’s a fascinating development that could redefine what our smartphones are capable of capturing. It strikes me as funny, though, how much effort we pour into replicating “bokeh”—a term borrowed from Japanese photography to describe those beautifully blurred backgrounds. We used to get this by adjusting a camera lens with great care. Now, we’re reverse-engineering it digitally, simulating what used to happen naturally with fancy glass. > “It still seems a little anachronistic to me, but there’s no getting around it: a beautifully blurred background removes distractions in portrait photography in so many ways, and I’m all on board.” Do we love bokeh because it’s artful or because it hides the clutter of our lives behind a soft haze? [Read the original article →](https://www.digitaltrends.com/phones/this-tiny-sensor-could-be-the-future-of-smartphone-photography/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-38) ![Is Documentary Photography at a Crossroads?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_fbcd870f-c8f9-4164-af55-4260b728cdb5.jpg) ## Is Documentary Photography at a Crossroads? Fred Ritchin's recent discussion, highlighted in *Hyperallergic*, delves into the precarious role of documentary photography in an era defined by AI, misinformation, and the erosion of democratic norms. It’s a timely and essential conversation about restoring credibility to visual media, particularly in how we perceive shared realities. You know, as an art photographer, I’ve always leaned toward bending reality to uncover new perspectives. But documentary photography operates on a different premise—it’s about creating a collective understanding. The tricky part is balancing this shared truth with the distortions we introduce as artists to provoke thought and challenge assumptions. > “The challenge isn’t just technical—like verifying AI-generated images—it’s about rebuilding trust in what we see,” Ritchin argues, pointing out that the solutions must integrate human values alongside technological tools. Do artists have a responsibility to uphold reality, even as we intentionally subvert it to make a point? [Read the original article →](https://aperture.org/editorial/is-documentary-photography-at-a-crossroads/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-38) --- *Q+ART & PODCAST INTERVIEWS* --- ![NEA Tech Check: Rootoftwo](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8f9a1ea8-9629-4e2c-a79d-d11827e0b039.jpg) ## NEA Tech Check: Rootoftwo The **NEA’s interview with rootoftwo**, a collaborative duo blending art, design, and technology, highlights their fascinating work at the crossroads of culture and tech (via Jax Deluca, *National Endowment for the Arts*). From creating Detroit’s public Wi-Fi network during the pandemic to running the Michigan Central x Newlab Art + Technology Residency, their projects illustrate how art can challenge, connect, and expand our understanding of technology. These partnerships are the kind that ignite my imagination. I’m particularly struck by their push for AI transparency in creative work. It’s a conversation we need, especially as AI reshapes how we think about authorship and originality. > “Artists, creative practitioners, and the cultural sector can play a role in unpacking the complexity of technological transformation in society,” rootoftwo explains, reminding us of art’s critical role in shaping ethical tech futures. Who else is out there merging creativity and tech in ways we should explore together? Let’s collaborate. [Read the original article →](https://www.arts.gov/stories/blog/2025/nea-tech-check-rootoftwo?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-38) --- *SUSTAINABILITY IN ART AND TECH* --- ![Refik Anadol: The AI Artist Sounding the Alarm on Glacial Destruction](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_67a61b61-cb48-400c-910b-e02ea05cce9b.jpg) ## Refik Anadol: The AI Artist Sounding the Alarm on Glacial Destruction Refik Anadol’s AI-powered installation, featured at the 2025 World Economic Forum opening concert in Davos, highlights the catastrophic impact of climate change on glaciers. As reported by *The Art Newspaper*, Anadol's immersive artwork integrates over 10 million images of glaciers, gathered from expeditions to Antarctica and Iceland, into a Large Nature Model built with ethically sourced data. The installation aims to inspire global leaders to act on environmental preservation. I'm working on a white paper about AI in the arts, focusing on the environmental costs of training AI models. It’s hard not to see irony here: using power-hungry AI processes to critique climate change. > Anadol’s work invites reflection on glaciers’ fragility, yet it also prompts questions about the energy footprint of such artistic endeavors—how can we reconcile this with the message? Can art about environmental collapse avoid contributing to it? [Read the original article →](https://www.theartnewspaper.com/2025/01/17/refik-anadol-sounding-the-alarm-on-glacial-destruction?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-38) --- *FUTURE TRENDS IN ART AND TECH* --- ![Sougwen Chung: Meet the Boundary-Pushing Pioneer of Robot Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9a5af57b-176f-4be7-9b9a-fb85e5476d47.jpg) ## Sougwen Chung: Meet the Boundary-Pushing Pioneer of Robot Art Chinese Canadian artist Sougwen Chung continues to redefine human-machine collaboration, as reported by *The Art Newspaper*. Her latest work, *Spectral*, will debut at the 2025 World Economic Forum. The kinetic installation pairs Chung’s brainwave-driven biofeedback with robotic painting arms, translating thought into painterly motion. Chung emphasizes that this process, reflecting her meditative development, is “the art itself.” This kind of collaboration between AI and artists is fascinating. It’s not about machines taking over creativity but blending human intentionality with computational capabilities. Galleries are now adopting nuanced metrics to evaluate AI-assisted art, prioritizing the artist’s contribution (35%) over mere technical complexity (25%). That’s a critical shift toward valuing the creative dialogue, not just the output. > “The potential of invigorating artistic tradition through technological development is still in its early stages,” Chung reminds us. It’s not the machine—it’s the synergy. Are we rethinking what “authorship” means in art, or are we just redefining its boundaries? [Read the original article →](https://www.theartnewspaper.com/2025/01/17/sougwen-chung-meet-the-boundary-pushing-pioneer-of-robot-art?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-38) ![Making the Art World More Accessible](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2960995f-1cce-45ed-8970-67fd5d0f0be2.jpg) ## Making the Art World More Accessible The MIT News recently profiled *NALA*, a startup by MIT alum Benjamin Gulak, aiming to dismantle traditional gallery gatekeeping. NALA connects artists directly with buyers through a tech-driven platform, bypassing the hefty commission structure of galleries. With over 8,500 artists and 20,000 buyers already engaged, NALA uses AI to match art with collectors, creating a more inclusive and global marketplace for artists. This resonates deeply with me. I’ve long been invested in initiatives that amplify underrepresented artists and celebrate diverse creative voices. Platforms like NALA feel like the start of something critical: a movement toward greater equity in the art world, something I’ve hoped for in my own collaborations with sustainable online galleries. > “We’re opening the art world to all artists, creating a true meritocracy,” says Gulak. That kind of vision is overdue—and worth celebrating. Could this signal a broader shift in how we value and discover art? [Read the original article →](https://news.mit.edu/2025/nala-makes-art-world-more-accessible-0116?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-38) --- *THE LAST WORD* --- The stories this week made me think hard about trust in art - especially after writing about those AI-authenticated auctions. Your responses to previous issues have sparked good conversations about artistic value and authenticity. I'd like to hear what you think about AI's role in determining art prices, or how you view machine-human creative partnerships. These discussions shape how I approach future issues. Best, Juergen ### From Earth to the Moon: Creativity in Unexpected Places URL: https://theintersect.art/issues/37/ Last updated: 2026-07-14T17:08:47.000Z Hi everyone, This week is a mix of stories—and a little humor along the way. From Sasha Mingia’s haunting photo series exploring the fragility of memory to Mikael Genberg’s bold plan to send a Swedish red cottage to the Moon, these pieces challenge how we see the world and our place in it. You’ll also read about the changing dynamics of art authentication as AI companies begin to merge with human expertise, and how Birkenstock is making a case for its sandals as applied art. Finally, there’s a thought-provoking look at the digital transformation of art fairs, where technology is breaking down barriers but also raising questions about what might be lost in translation. --- *PUBLIC ART* --- ![Swedish Red Cottage Flies to the Moon](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7c5133df-bfea-4908-972e-aca794b54faa.jpg) ## Swedish Red Cottage Flies to the Moon Swedish artist Mikael Genberg is sending a bright red Swedish cottage to the Moon, according to a report from PRNewswire. Launching on January 15 from the Kennedy Space Center via ispace’s lunar rover and lander, Genberg’s “MoonHouse” blends art, architecture, and—let’s be honest—a sense of humor. This whimsical project comes after 25 years of planning, proving that sometimes the wildest concepts really can break orbit. I have to admit, this made me laugh. Is this what happens when space agencies and artists collaborate? NASA might be running out of ideas, but Genberg’s playful vision is hard not to admire. > “It’s exciting that something so original and unmistakably Swedish... will highlight our Earthly destination for years to come,” said Susanne Andersson of Visit Sweden. Highlight it, or confuse passing aliens? What’s next? A Starbucks on Mars? Let me know your thoughts. [Read the original article →](https://www.prnewswire.com/news-releases/swedish-red-cottage-flies-to-the-moon-302347296.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-37) --- *AI IN VISUAL ARTS* --- ![AI Authentication Company and Art Analysis Firm Merge, With Plans to Redefine The Field](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_eac3e02a-4a98-4a27-a4b8-0467cff2d2df.jpg) ## AI Authentication Company and Art Analysis Firm Merge, With Plans to Redefine The Field Hephaestus Analytical’s recent acquisition of the scientific art analysis firm ArtDiscovery, as reported by *ARTnews*, shifts the dynamics of art authentication. With this merger, the AI-driven company gains access to ArtDiscovery’s extensive pigment database, spectral libraries, and seasoned team of conservators. The goal? To set “the world’s highest evidentiary standards in art authentication,” according to Hephaestus CEO Denis Moiseev. What stands out to me is the direction of this acquisition. It’s not the traditional art analysis firm adopting AI tools—it’s the AI company acquiring human expertise and their knowledge base. This reversal signals something larger about the balance between technology and human skill in fields like authentication. > “Joining Hephaestus feels like we are catching up with the digital world,” said Nica Gutman Rieppi, managing director of ArtDiscovery. “We are now able to…provide our customers with definitive answers, all in less time and with even greater accuracy.” Are we looking at a future where AI companies become the custodians of human expertise? [Read the original article →](https://www.artnews.com/art-news/news/hephaestus-analytical-merges-artdiscovery-ai-art-authentication-1234729705/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-37) --- *IN DEPTH: ON MY SUBSTACK BLOG* --- ![E-Ink Displays: Transforming How We Collect and Show Art at Home](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_18492aaf-7faf-48fe-93af-bc8199b81184.png) ## E-Ink Displays: Transforming How We Collect and Show Art at Home E-ink displays, as I discussed in my recent Substack post, are transforming how art is collected and displayed. While many readers echoed their preference for printed, original artworks, I can’t help but view this innovation through the lens of generational shifts. These devices aren’t necessarily for those of us who’ve already curated collections over decades. > "As a Gen X, I’m at the end of my collector’s journey, surrounded by the meaningful artworks I’ve gathered—family pieces and inherited treasures. But for younger audiences, raised as digital natives with less wall space and different priorities, these displays offer entirely new possibilities." Working with nonprofits supporting young artists, I see how such technology could foster accessibility and engagement. Will this generation redefine what it means to "own" art, or are we simply broadening the ways art can exist in modern life? [Read the original article →](https://theintersectofartandtech.substack.com/p/e-ink-displays-transforming-how-we?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-37) --- *SUBSTACK* --- ![Did you know we are on Substack?](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_25d92ce1-d022-4774-b2e9-a2ca78e1542f.png) ## Did you know we are on Substack? Want to delve deeper into the captivating interplay between art and technology? I’ve expanded The Intersect on Substack to include more extensive long-form articles that delve into how technology influences artistic expression and how creativity catalyzes innovation. These in-depth explorations are entirely free and serve as a complement to our weekly newsletter. 👉 Join the conversation on Substack [Read the original article →](https://theintersectofartandtech.substack.com/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-37) --- *PHOTOGRAPHY* --- ![Erased Reality: Exploring the Boundaries of Memory](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_664aaab6-d011-45ba-b77b-87388d43023a.jpg) ## Erased Reality: Exploring the Boundaries of Memory Sasha Mingia’s “Erased Reality” is a striking photo series featured in an article by Arseny Vesnin. Mingia’s work, assembled in 2022 from her archive of 2010s-era photographs, erases familiar details from scenes in Abkhazia and a defunct Moscow amusement park. The result? Spaces that feel like half-formed memories, exploring themes of loss, forgetting, and how we interpret the past. Her project also stirs dialogue about the impact of gaslighting on memory and perception. Looking at her images, I’m reminded of when I first started photography with pinhole cameras I built myself. With no viewfinder, every shot was intuitive and imperfect. The long exposures and unpredictable results created photographs that felt organic—and strangely alive. Mingia’s work carries that same deliberate mystery, where what’s missing is just as important as what’s left behind. > “Reality is a ghost. It’s like having a dream in which very familiar places and events from the past are dreamed deserted.” When memory becomes subjective, does it distort truth—or create a new one altogether? [Read the original article →](https://designcollector.net/likes/sasha-mingia-photography?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-37) ![A City on Fire Can’t Be Photographed](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3d94c002-df0e-403b-975f-4060b79e6ef1.jpg) ## A City on Fire Can’t Be Photographed The New Yorker’s piece, *“A City on Fire Can’t Be Photographed”* by Dan Piepenbring, examines why images of disasters, like the fires in Los Angeles, fail to endure. The article argues that these photographs no longer serve as lasting symbols—they’re consumed and discarded by our relentless demand for newness. They convey urgency but rarely invite deeper reflection, making them fleeting artifacts of devastation rather than contemplative works of art. This idea resonates deeply. Our ways of seeing, as Piepenbring suggests, feel inadequate. Fires, hurricanes, or floods—all these disasters blur together in our newsfeeds, their profound meanings reduced to scrollable content. As someone who values art’s ability to make us pause, I wonder if we’ve lost the patience to truly sit with these images and let them disturb us, as they should. > “These photographs and videos won’t last... They are victims of an unremitting public need for novelty. The meanings of these images... do not invite their use as objects of contemplation.” The question nags: Have we trained ourselves to skim tragedies, or has the sheer volume of them made us numb? [Read the original article →](https://www.newyorker.com/culture/annals-of-appearances/a-city-on-fire-cant-be-photographed?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-37) --- *DEFINITELY NOT AI* --- ![Birkenstock Sues ‘Copycat’ Rivals Claiming Its Sandals Are Applied Art](https://theintersect.art/content/images/2026/07/0_2.jpg) ## Birkenstock Sues ‘Copycat’ Rivals Claiming Its Sandals Are Applied Art German footwear icon Birkenstock is taking alleged “copycat” rivals to court, claiming its cork-soled sandals qualify as “applied art.” As reported in *The Guardian*, Birkenstock argues that models like the Arizona and Boston Clog deserve copyright protection akin to works of artistic design, citing precedents like the Porsche 356 and Bauhaus-inspired furniture. Birkenstock’s position raises eyebrows—and questions. Have they never heard of patents? Isn’t copyright supposed to cover this already? Still, I was intrigued to learn that copyright law has previously recognized certain functional designs as art. Apparently, “wearable art” isn’t just a metaphor when it comes to German courts. > “Under copyright law it has been recognised for decades that outstanding designs of everyday objects can also be protected by copyright,” said the company’s lawyer, Konstantin Wegner. So, are Birkenstocks just sandals with great branding—or bona fide art for your feet? [Read the original article →](https://www.theguardian.com/world/2025/jan/09/birkenstock-sues-copycat-rivals-claiming-its-sandals-are-applied-art-germany?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-37) --- *FUTURE TRENDS IN ART AND TECH* --- ![The Future of Art Fairs and Adapting to an Increasingly Digital World](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f3d9ca1c-9c7b-4942-ace8-6461268b421a.jpg) ## The Future of Art Fairs and Adapting to an Increasingly Digital World Art fairs are evolving, and Gaston La-Gaffe’s article on FAD Magazine highlights how digital tools are reshaping the space. By blending virtual and physical experiences, organizers are expanding access, offering hybrid models that include features like virtual viewing rooms and augmented reality. These innovations bring the art to enthusiasts who might not be able to attend in person, ensuring broader engagement without losing the essence of the traditional fair. What stood out to me is how these changes are chipping away at the old exclusivity model. Art fairs used to thrive on scarcity—limited access, limited time—but now they’re embracing openness. This doesn’t diminish their importance; it redefines it to include more voices and perspectives. > "Using digital platforms to showcase art means organizers can create continuous engagement opportunities throughout the year." Will these digital shifts lead to a richer cultural exchange, or is something irreplaceable still lost in translation? [Read the original article →](https://fadmagazine.com/2025/01/10/the-future-of-art-fairs-and-adapting-to-an-increasingly-digital-world/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-37) --- *THE LAST WORD* --- Thanks for spending your time with me. If any of these topics sparked your curiosity or made you pause, I’d love to hear your thoughts—your perspectives help keep this conversation vibrant. Feel free to share this newsletter with others who might enjoy it, or let me know if there’s a story you think I should explore next. Let’s keep discovering how creativity and technology shape our world together. Warm regards, Juergen ### Art Beyond the Screen: Reclaiming Craft in a Digital World URL: https://theintersect.art/issues/36/ Last updated: 2026-07-14T17:09:38.000Z Hi everyone, This week’s newsletter starts with a fresh look at OpenAI’s Sora video platform and how gaming engines could teach AI to grasp the laws of physics—spaghetti sauce glitches included. From there, I reflect on Christo and Jeanne-Claude’s "The Gates," reimagined through augmented reality, and the enduring power of their original hand-drawn sketches. We also explore Alexis Mata’s bold reinterpretation of digital glitches through traditional oil painting, dive into brainwave-driven art installations in London, and consider how virtual reality might reshape access to museum collections. Finally, we see AI questioning the authorship of Raphael’s famous Madonna della Rosa and ask: how might technology challenge our perceptions of art’s origins? --- *FILM & VIDEO* --- ![Why Critics of OpenAI Sora's 'Weird' Videos Are Missing the Bigger Picture](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_0d724cb0-9184-4c65-ac07-0d6c14d40c6b.jpg) ## Why Critics of OpenAI Sora's 'Weird' Videos Are Missing the Bigger Picture In my analysis of OpenAI's Sora video platform, I look past the current quirks to examine its future potential. While critics point to amusing glitches like floating spaghetti sauce, the real story lies in how gaming engines might solve AI's physics problem. These established technologies already understand gravity, collision, and spatial relationships - exactly what AI video generation currently lacks. The combination of AI with physics-aware systems points toward solutions beyond entertainment. When these technologies merge, we might see breakthroughs in environmental challenges, medical research, and economic inequality - issues that conventional approaches struggle to address. > "My philosophy is to just play with this stuff while it's still relatively free, inexpensive, and not yet 'enshitified,' as Cory Doctorow would say. Right now, we have the opportunity as creators and artists to experiment with all of these tools before they become commercialized." What possibilities might emerge when AI video generation gains true physical awareness through gaming engine integration? [Read the original article →](https://theintersectofartandtech.substack.com/p/openai-sora-weird-videos?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-36) --- *PUBLIC ART* --- ![NYC to Celebrate 20th Anniversary of Christo & Jeanne-Claude’s ‘The Gates’ at the Shed](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_85fc2b59-0e4c-4ded-8576-043d542368db.jpg) ## NYC to Celebrate 20th Anniversary of Christo & Jeanne-Claude’s ‘The Gates’ at the Shed The Designboom article highlights an anniversary celebration at The Shed for Christo and Jeanne-Claude’s iconic "The Gates," originally installed in Central Park in 2005\. This time, the project is reimagined with an AR installation, placing virtual gates throughout the park. While the tech is intriguing, my attention was drawn to something far more tangible: the original concept sketches and drawings by Christo, as featured in the article. Never mind the VR spectacle—what struck me were Christo’s meticulous drawings. The bold orange arches, envisioned against the bleak, monochrome New York winter, feel as alive on paper as they must have in the park. > "The juxtaposition of color and gloom in the sketches tells the story better than any augmented reality possibly could—it’s an artist’s genius distilled into graphite and ink." Is it just me, or do we sometimes lose sight of the raw, original craft in favor of technological glitter? [Read the original article →](https://www.designboom.com/art/christo-jeanne-claude-gates-20th-anniversary-exhibition-shed-new-york-central-park-12-30-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-36) --- *SUBSTACK* --- ![Did you know we are on Substack?](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_92ff371f-d6d2-4cdf-b194-657e68befdf4.png) ## Did you know we are on Substack? Want to explore the fascinating connections between art and technology more deeply? I've launched an expanded version of The Intersect on Substack, featuring additional long-form articles that examine how technology shapes artistic expression—and how creativity sparks innovation. These in-depth explorations are completely free and complement our weekly newsletter. You'll get thoughtful analysis, fresh perspectives, and stories that challenge how we see art and tech working together. 👉 Join the conversation on Substack [Read the original article →](https://theintersectofartandtech.substack.com/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-36) --- *DEFINITELY NOT AI* --- ![Perfect Imperfection: Digital Glitches in Traditional Oil Painting](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d9bab6ea-4258-4f88-ae8e-bdb354d50035.jpg) ## Perfect Imperfection: Digital Glitches in Traditional Oil Painting Mexico City-based artist Alexis Mata takes the imperfections of the digital world—glitches, pixelation, and visual artifacts—and reimagines them as bold, oil-based compositions. As highlighted in *The Hole's* exhibition coverage, Mata’s work bridges the digital and analog, challenging us to see technological “errors” as intentional visual statements. What stands out to me is how Mata’s paintings celebrate what modern tools like AI and Photoshop try to erase. I remember the painstaking process of manually enlarging digital images, layering noise diffusion step by step—an effort to counteract imperfections. Mata flips that script entirely. > *“His work transforms digital artifacts into intentional artistic elements, using bold colors and traditional oil painting techniques to elevate these ‘imperfections’ into compelling visual statements.”* Are we too focused on perfection in technology, missing the creative opportunities imperfection offers? What do you see when you zoom into a flaw? [Read the original article →](https://theintersectofartandtech.substack.com/p/perfect-imperfection-digital-glitches?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-36) ![This Free Immersive Experience Creates Stunning Art in Real-Time Using Visitor’s Brainwaves](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_68b2b159-e41d-4de7-b59f-1c8c1ac3405b.jpg) ## This Free Immersive Experience Creates Stunning Art in Real-Time Using Visitor’s Brainwaves Slap in the middle of London’s financial district, *The Observatory* brings two interactive installations, “Harmony 2.0” and “Soul Paint,” blending art and neuroscience to explore emotion and mindfulness. As reported by *Secret London*, these experiences use EEG headsets and VR to create art in real-time, shaped by visitors’ brainwaves and movements, while supporting the mental health charity CALM. What strikes me is how these projects shift the focus back to humanity. Unlike AI-generated content, which often feels detached, these works place human emotion and collaboration at the center. This isn’t technology for its own sake—it’s a tool for connection and introspection. > My "Spidey sense" goes up when tech is used in ways that feel deeply human. In an era drowning in AI-generated slop, this kind of communal, human-driven art feels like a much-needed distinction. Is human-centric art the antidote to our saturation with machine-made creativity? [Read the original article →](https://secretldn.com/the-observatory-immersive-experience/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-36) --- *INTERACTIVE ART* --- ![Global Survey Shows Rising Public Demand for Virtual Reality Access to Museum Collections](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5bf4434c-2cc4-47a9-a6cc-3aa5c8a4a1ab.jpg) ## Global Survey Shows Rising Public Demand for Virtual Reality Access to Museum Collections A recent piece in *EuropaWire* highlights findings from the University of Glasgow’s Museums in the Metaverse (MiM) project. The survey of 2,000 global participants reveals a growing appetite for virtual reality (VR) and extended reality (XR) museum experiences. The data suggests these technologies could make cultural collections more accessible, especially for the 90% of artefacts typically in storage, while drawing younger audiences into these digital spaces. Here’s what intrigues me: the study points to a clear shift in how cultural institutions might evolve. Younger audiences, specifically ages 25 to 34, appear eager for immersive, tech-forward experiences. But I can’t help but wonder—will museums fully embrace this opportunity, or will they treat it as a side project? > "A global survey is always fascinating, but with only 2,000 participants, it feels like a snapshot rather than a full picture. Still, the trends are undeniable—people want more immersive access to cultural heritage." How do we balance technological expansion with preserving the intimacy and authenticity of art? [Read the original article →](https://news.europawire.eu/global-survey-shows-rising-public-demand-for-virtual-reality-access-to-museum-collections/eu-press-release/2025/01/07/10/16/51/146126/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-36) --- *ART & SCIENCE* --- ![The Artists' Brain: A Data Fusion Approach to Characterize the Neural Bases of Professional Visual Artists](https://theintersect.art/content/images/2026/07/0_1.jpg) ## The Artists' Brain: A Data Fusion Approach to Characterize the Neural Bases of Professional Visual Artists A recent study titled *“The Artists' Brain: A Data Fusion Approach to Characterize the Neural Bases of Professional Visual Artists”*, published in *Oxford Academic’s Cerebral Cortex*, offers a fascinating dive into how artists’ brains might function differently. Researchers are analyzing neural data from professional visual artists to uncover what sets their minds apart from non-artists. Is creativity, as we often feel, wired into the brain, or is it something else entirely? My take? As an artist, I’ve sometimes wondered if the way I see the world—patterns in the mundane, colors in shadows—is just perspective or something deeper. Science seems eager to answer this. > “Artists may have a different neural wiring when it comes to visual processing and imagination, but what if that’s something anyone can cultivate?” This study hints at possibilities beyond innate talent. Do you think creativity is born or built? [Read the original article →](https://www.biorxiv.org/content/10.1101/2025.01.01.630982v1?rss=1&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-36) --- *CREATOR PLATFORMS AND TOOLS* --- ![You Only Need to Charge This E Ink Digital Poster Once a Year](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1867324f-85fb-443d-a6c4-f9daa1157208.jpg) ## You Only Need to Charge This E Ink Digital Poster Once a Year E Ink’s collaboration with PocketBook and Sharp, as reported by The Verge, has introduced the InkPoster, a low-power digital frame using Spectra 6 e-paper technology. With vivid colors, three size options, and a battery life reaching up to a year, this device allows users to display or rotate curated artworks and personal images via Wi-Fi or Bluetooth. Unlike traditional screens, it lacks screen lighting, creating a more natural presentation suitable for any space. I’m thrilled about how products like this could redefine art collecting. > “The idea that you buy a piece of art for a small studio apartment, for example, would fill up that apartment with only very few pieces. I think the future of collecting relies in part on a more flexible way to display a range of artworks that can change on occasion or can rotate.” Could the InkPoster finally make collecting more accessible—and more sustainable—in an increasingly digital world? [Read the original article →](https://www.theverge.com/2025/1/7/24328013/pocketbook-e-ink-sharp-inkposter-electronic-paper-spectra-6?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-36) --- *ART AND POLITICS* --- ![Florida Has a Weird Political Culture. It’s About to Take Over the White House.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c48baad8-29fb-4a9e-abcd-accbc8c297b5.jpg) ## Florida Has a Weird Political Culture. It’s About to Take Over the White House. Donald Trump’s Cabinet, stacked with Florida figures, brings the spotlight to what the *New York Times* describes as the state’s “peculiar mix of laissez-faire economics and moral conservatism.” It’s not just about political appointments; it’s about Florida’s distinct, sometimes bizarre, cultural footprint extending to the national stage. When Florida man moves into the White House and surrounds himself with oligarch friends, we can expect more than policy debates. The Florida ethos—where tax breaks meet beachside moral outrage—raises questions about priorities. Should we brace for golden flamingos on the White House lawn, a nod to the opulence-meets-chaos energy the state so often embodies? > “It’s a blend of free-market zeal and performative virtue politics that feels uniquely Floridian—and now, uniquely presidential,” writes the *New York Times*. So, is this a cultural export or a political experiment we didn’t sign up for? [Read the original article →](https://www.politico.com/news/magazine/2024/11/28/trump-cabinet-florida-influence-00191930?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-36) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![AI Suggests Iconic Painting Wasn’t by Raphael](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d3314e44-4277-457e-8284-0148662622b8.jpg) ## AI Suggests Iconic Painting Wasn’t by Raphael Researchers from the Universities of Nottingham, Bradford, and Stanford are using AI to challenge long-standing assumptions about iconic art. As reported by *CNET*, their algorithm analyzed Raphael’s *Madonna della Rosa*, revealing that while most of the painting aligns with the artist’s style, St. John’s face likely isn’t Raphael’s work. Instead, it may belong to Giulio Romano, one of his pupils. The AI achieved this by training on verified Raphael works, examining features down to the brushstroke with a 98% accuracy rate. This isn’t the first time AI has outperformed human experts in authenticating artwork. Auction houses have embraced similar tools to validate pieces, but these findings show AI’s potential beyond the commercial realm. It’s intriguing—and perhaps unsettling—to see technology rewrite parts of art history. > “It’s fascinating how algorithms can spot inconsistencies that even the most experienced eyes might overlook, challenging our collective assumptions about the great masters.” If AI keeps revealing cracks in art’s origins, how might that reshape what we trust and value in masterpieces? [Read the original article →](https://www.cnet.com/tech/services-and-software/ai-reveals-raphael-may-not-have-painted-all-of-this-iconic-artwork/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-36) --- *THE LAST WORD* --- Thanks for spending a bit of your day exploring these ideas with me. I hope the stories sparked curiosity or even a new perspective on how art and tech continue to reshape each other. If you had a favorite story or found a topic that resonated, I’d love to hear your thoughts. Let’s keep the dialogue going and continue uncovering the rich intersections of creativity and innovation together. Warm regards, Juergen ### From the Cosmos to Canvas: Art’s Role in a Changing World URL: https://theintersect.art/issues/35/ Last updated: 2026-07-14T17:10:02.000Z Hi everyone, This week, I’ve curated a collection of stories that shine a light on the enriching connections between art, technology, and science. From a breathtaking 40,000-pixel photograph capturing all 88 constellations to AI’s growing role in museum curation, these stories reveal the power of innovation to preserve, transform, and challenge how we experience art and culture. We’ll explore topics like Notre-Dame’s modern restoration critique, a new print magazine dedicated to AI art, and virtual reality experiences recreating 19th-century Paris. There’s even a fascinating look at how tiny ice crystals paint luminous patterns in the sky. Join me as we unpack these intersections of creativity, technology, and our shared human experience. --- *AI IN VISUAL ARTS* --- ![New Magazine Dedicated to AI Art and ‘What Happens When Humans and Machines Get Creative Together’ Launches](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_87cc63f2-181b-412f-8035-0f4b28253c4e.png) ## New Magazine Dedicated to AI Art and ‘What Happens When Humans and Machines Get Creative Together’ Launches *The AI Art Magazine*, a 176-page biannual print publication, launched recently, as reported by ARTnews. Publisher Mike Brauner described it as a "vital chronicle" of this pivotal moment in art history. Featuring essays, curated galleries, and contributions by artists like Emi Kusano, the magazine aims to capture the intersection of human creativity and machine intelligence. Interestingly, one jury member for the open call was AI itself. I came across this announcement in no fewer than six publications, which made me pause. A print magazine celebrating AI art—a medium that thrives on digital immediacy and constant evolution—feels oddly anachronistic. Is this charming, or does it reflect our need to anchor the digital in something tangible? > “It’s curious to think that for some, a printed magazine signals ‘legitimacy’—a notion directly at odds with AI visuals, which often blur or subvert reality itself.” Does this move signal progress—or nostalgia dressed as progress? [Read the original article →](https://www.artnews.com/art-news/news/new-magazine-dedicated-to-ai-art-and-what-happens-when-humans-and-machines-get-creative-launches-1234728751/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-35) --- *PHOTOGRAPHY* --- ![88 Constellations: Scientists Present the Largest Photograph of the Night Sky](https://theintersect.art/content/images/2026/07/4904.jpg) ## 88 Constellations: Scientists Present the Largest Photograph of the Night Sky The National Observatory for Optical and Infrared Astronomy (NOIRLab) has unveiled a remarkable project: a collection of images capturing all 88 officially recognized constellations, along with the largest publicly available photograph of the night sky at 40,000 pixels. This ambitious effort, as reported by NOIRLab, blends science and artistry to preserve the night sky in a way that feels increasingly urgent. German astrophotographer Eckhard Slavik captured his photographs in some of the world's darkest and cleanest locations, including Waldenburg in Germany, Tenerife and La Palma in Spain, Namibia, and Chile. Using a unique technique, Slavik photographed each panel twice—once with a diffuser and once without—to enhance the clarity and brightness of the stars, ensuring they appeared as visible as possible. Projects like this resonate deeply with me. Light pollution, the proliferation of satellites, and even climate change are erasing our connection to the stars. I see this as more than photography—it’s preservation. As an ex-photographer who briefly dabbled in astrophotography, I know how much patience and remote travel this would have demanded. Honestly, the sheer commitment involved is awe-inspiring. > “I can’t tell you how much I admire projects like this—years of effort, solitary nights, and an unmatched celebration of the cosmos.” How long before the stars themselves become a memory, and will images like this be all we have left? [Read the original article →](https://tech.news.am/eng/news/4904/88-constellations-scientists-present-the-largest-photograph-of-the-night-sky.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-35) --- *GAMING* --- ![Did a Video Game Help Rebuild Notre-Dame After the Fire?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_270e3a90-da3c-439d-bbc9-767575067b66.jpg) ## Did a Video Game Help Rebuild Notre-Dame After the Fire? The Guardian recently explored how *Assassin’s Creed Unity* played a surprising role in discussions about restoring Notre Dame after the 2019 fire. While the game’s digital model of the cathedral is visually stunning, it wasn’t precise enough for actual restoration work. Instead, it was laser scans from 2015 by art historian Andrew Tallon—capturing over a billion data points—that became an essential reference for engineers. What struck me here is how easily games like Unity grab the spotlight, even when the heavy lifting was done elsewhere. > "Scans from professional engineers, not game developers, were the cornerstone for rebuilding. Yet, the idea that gaming could assist in restoration sparks exciting possibilities for where art meets tech—and highlights how close tools like Unreal Engine already are." Maybe don't trust a video game to preserve our most cherished landmarks—but for me it adds to my sense of digital and cultural permanence. [Read the original article →](https://www.theartnewspaper.com/2024/12/02/did-a-video-game-help-rebuild-notre-dame-after-the-fire?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-35) --- *ART & SCIENCE* --- ![Integration of Music and Art in a Science and Engineering-Based University](https://theintersect.art/content/images/2026/07/0_2-1.jpg) ## Integration of Music and Art in a Science and Engineering-Based University The recent **Nature Careers Podcast** with Julie Gould highlights fascinating insights from Stanford’s Callie Chappell, who argues that science and art aren’t opposites but cousins. She likens scientific work to an artistic endeavor: blending ideas, communicating through creation, and, ultimately, relying on creativity. At the Technion, one of Israel's top tech universities, their Artist-in-Residency program and initiatives like *Music, Science, Inspiration* explore how integrating art into STEM fields sparks innovation and connection. This reminds me of something Chappell said: > “I would argue that science is actually a type of art. To do science, you have to be creative, you have to blend different ideas, you have to communicate those ideas by creating something. In many ways that’s what artists do.” Does art serve as a hidden engine for breakthroughs in science, or have we underestimated its potential? [Read the original article →](https://cacm.acm.org/blogcacm/integration-of-music-and-art-in-a-science-and-engineering-based-university/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-35) ![Diamond Dust Sky Eye](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d37c1803-3f4c-4e17-9867-1b5792e2db5c.jpg) ## Diamond Dust Sky Eye The recent article “Diamond Dust Sky Eye,” featuring an image by Jaroslav Fous, explores a breathtaking optical phenomenon caused by tiny ice crystals known as diamond dust. These geometrically shaped crystals, suspended in freezing air, interact with light from the Moon or Sun to create halos, arcs, and even what looks like a giant eye staring back at us. Captured in the Ore Mountains of the Czech Republic, the image reveals a stunning interplay of natural elements, including Moon dogs, light pillars, and planetary glimmers from Jupiter and Mars. Earlier this year, I attended a lecture on optical phenomena, and this exact type of ice-crystal effect took center stage. Seeing these forms explained scientifically doesn’t diminish their magic—it deepens it. It’s as if nature itself is sketching luminous patterns across the sky, with ice crystals as its tools. > The beauty here lies in the duality: scientifically precise geometric reflections, yet utterly surreal, almost dreamlike in their visual impact. If art imitates life, could this be nature’s way of creating its own abstract masterpiece? [Read the original article →](https://apod.nasa.gov/apod/ap241225.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-35) --- *VIRTUAL AND AUGMENTED REALITY IN ART* --- ![Revolutionizing Museums: How AI-Driven Data Analysis Is Changing the Game](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_708044ea-2cae-4b0f-a2e4-53b89db111c4.jpg) ## Revolutionizing Museums: How AI-Driven Data Analysis Is Changing the Game AI is increasingly shaping how museums engage visitors, as highlighted in *MuseumNext's* piece on AI-driven data analysis. From curating personalized tours to optimizing collection management, these tools are transforming visitor experiences. The article underscores how AI is being deployed to tailor museum offerings, making art and history more accessible and relevant to diverse audiences. This resonates with my recent museum visits in the UK, where I used Perplexity, my favorite AI tool, to create impromptu audio tours. By simply photographing plaques under artworks and having Perplexity dig up insights, I generated personalized guides on the spot. It worked so well that I couldn't help but imagine museums adopting similar tools to offer curated tours based on individual interests—like one focusing solely on the history of photography. > "Imagine an AI assistant familiar with a museum’s collection, ready to craft a walking tour tailored to your specific passions. It’s not futuristic—it’s entirely within reach." What would your ideal AI-curated museum tour look like? [Read the original article →](https://www.museumnext.com/article/revolutionizing-museums-how-ai-driven-data-analysis-is-changing-the-game/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-35) ![Revisiting 19th-Century Paris With VR](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_32af7184-69a8-4608-9821-6b4ac545bdcf.jpg) ## Revisiting 19th-Century Paris With VR Created by French startup Excurio, in collaboration with the Musée d'Orsay, a new VR experience, *Tonight with the Impressionists, Paris 1874,* explores 19th-century Paris and the world of Impressionist art. As detailed in [TechCrunch](https://cur.at/bYpRvBq?ref=theintersect.art), the 45-minute experience transforms a massive 11,000-square-foot white room into immersive scenes where visitors stand beside Claude Monet or explore galleries filled with iconic works. I hadn't considered how much physical space these kinds of VR experiences demand. A blank canvas of that scale allows for free-roaming, immersive storytelling, but it also makes you wonder: is this scalable for smaller venues? > "Despite the awkwardness, it really felt like we were in Paris, gazing at classic paintings and speaking to their creators," the author reflects, capturing the unique blend of technology and art this offers. Could this be the future of museum spaces or is it just a passing novelty? [Read the original article →](https://techcrunch.com/2024/12/15/revisiting-19th-century-paris-with-vr/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-35) --- *ART AND POLITICS* --- ![Americans Speak Out About Arts & Culture in New Public Opinion Survey](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7d6837b2-cb9a-4679-ab7e-6bb4f8a5f4e5.jpg) ## Americans Speak Out About Arts & Culture in New Public Opinion Survey Americans for the Arts recently released their 2023 public opinion survey, as reported by *The Art Newspaper*. It highlights that 79% of Americans attended arts or culture events this past year, and nearly half created or shared art themselves. The findings affirm that the arts enrich personal well-being, foster empathy, and even contribute to professional success—61% of workers said creativity directly impacts their job performance. I’ve always wondered if art alone can mend cultural divides, but this stood out: creativity, across industries and roles, is broadly valued. That’s encouraging. It’s not just about making art—it’s about cultivating a creative mindset in everything we do. > “The findings from this national public opinion study affirm the belief that we are better people with the arts in our lives,” says Randy Cohen of Americans for the Arts. So, what’s your creative outlet, and how does it shape your world? [Read the original article →](https://www.forbes.com/sites/timothyjmcclimon/2024/12/06/americans-speak-out-about-arts--culture-in-new-public-opinion-survey/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-35) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Notre Dame Restoration Critique: An Installation, Not a Liturgical Space](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1d3f0acb-20bb-4d98-a9e6-813088674260.jpg) ## Notre Dame Restoration Critique: An Installation, Not a Liturgical Space Rita Ferrone's critique in *OSV News* of the newly designed liturgical furniture at Notre-Dame Cathedral is sharp, calling it "modern art" that feels disconnected from the sacred space. She describes the font as inaccessible and overly stylized, lamenting its "art installation" feel. The altar, she says, “seems to have dropped in from somewhere else.” Ferrone's take focuses on how the updates fail to align with traditional liturgical symbolism. I couldn’t disagree more. When I stood in Paris just days after the fire, watching the first restoration efforts from our hotel window (See my own B&W photo attached), I saw something deeply moving: a national treasure rising from ashes. Notre-Dame, to me, isn’t just a church. It’s a cultural heartbeat, transcending its Catholic roots and inviting everyone—faithful or not—into its story. > “A church is not a museum,” Ferrone argues. Yet Notre-Dame is more than a church; it’s also a symbol of resilience and shared heritage. Can something evolve to honor both tradition and a broader, inclusive vision? [Read the original article →](https://www.commonwealmagazine.org/installation-not-liturgical-space?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-35) --- *THE LAST WORD* --- Thanks for reading along and engaging with these compelling narratives. Your curiosity and support continue to inspire me to explore the rich connections between art and technology. If any of these stories resonate with you or spark new ideas, I’d love to hear your thoughts. Let’s keep this dialogue alive and growing—your perspective is an essential part of this community. Warm regards, Juergen ### From Moonlight Cyanotypes to AI Deepfakes: Art’s Crossroads with Tech URL: https://theintersect.art/issues/34/ Last updated: 2026-07-14T17:11:35.000Z Hi all, This week, we’re exploring how art and technology intersect in meaningful, provocative, and sometimes unexpected ways. From Riley Walz’s digital nostalgia project turning forgotten YouTube clips into a living archive, to the cyanotype moonlight experiments of Ala Ebtekar, these stories remind us that creativity often flourishes in the unlikeliest places. We’ll also reflect on the societal impact of university-arts collaborations, the evolving nature of public art funding, and the unsettling rise of AI deepfakes featuring public figures like Pope Francis. Plus, there’s a fascinating look at tools protecting artists from AI replication and performance art critiquing AI’s dehumanizing potential. I hope these narratives spark curiosity and invite deeper thought about the possibilities and challenges at this intersection of art and tech. --- *ART NARRATIVES* --- ![The Artist Exposing the Data We Leave Online](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2f2f96b0-ca6c-4870-9a3e-1ef3791d7760.jpg) ## The Artist Exposing the Data We Leave Online Riley Walz’s project, “IMG\_0001,” highlighted in *The New Yorker*, transforms forgotten YouTube clips into a living archive of early digital life. These videos—mundane, shaky, and often unseen—capture a time before social media’s polish took over. It’s fascinating to see Gen Z artists like Walz, who didn’t grow up with the early Internet, mining it for inspiration and meaning. What struck me most about Walz’s approach isn’t just the nostalgic lens, but how his “art”—if we call it that—extends to real-world experiments. For instance, he and his friends once turned a prank into a pop-up steakhouse after listing their apartment as a restaurant on Google Maps. That’s not something I’d ever think to do, but it says a lot about how this generation sees creativity. > “It’s just a very different way to think about art and a different way to think about the Internet as well.” Does archival nostalgia have artistic merit, or are we just slapping the “art” label on clever stunts? What do you think? [Read the original article →](https://www.newyorker.com/culture/infinite-scroll/the-artist-exposing-the-data-we-leave-online?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-34) --- *PUBLIC ART* --- ![The Transformative Power of Sculptures and Landmarks in Urban Spaces: The Case of AL Khobar, Saudi Arabia](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7785e6d4-db2d-4b8b-a67e-c8c514967392.jpg) ## The Transformative Power of Sculptures and Landmarks in Urban Spaces: The Case of AL Khobar, Saudi Arabia In a piece for ArchDaily, the role of sculptures and landmarks in shaping Al Khobar, Saudi Arabia, is explored through projects like the Alarda and Aebayah Roundabouts. These works, supported by the Mujassam Wattan competition, highlight how public art can redefine urban spaces, blending cultural heritage with modern design to foster civic pride and identity. What struck me is the contrast in how public art is funded. Historically, religion anchored cultural investments—cathedrals and town squares were once the centerpieces of civic life. Today, in places like Saudi Arabia, government-backed initiatives provide robust support. Meanwhile, in Western capitalist societies, public art often hinges on commercial motives. > “Public art now demands a deliberate investment, especially in systems where economic priorities overshadow cultural enrichment. Without government backing, it often becomes a tool for tourism or economic gain, rather than a pure celebration of art.” Can public art thrive without being tied to commerce, or has the West resigned itself to art as merely another product? [Read the original article →](https://www.archdaily.com/1024531/the-transformative-power-of-sculptures-and-landmarks-in-urban-spaces-the-case-of-al-khobar-saudi-arabia?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-34) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Generating Societal Impact From Collaborations Between Universities and Arts and Culture Organisations (ACOs)](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_90d257f4-9646-4687-a2d3-ead8d2d2f1e7.jpg) ## Generating Societal Impact From Collaborations Between Universities and Arts and Culture Organisations (ACOs) Federica Rossi, Ning Baines, and Evelyn Wilson’s recent article in *Technovation* (February 2025) examines how collaborations between UK universities and arts and culture organizations (ACOs) generate societal impact. Their research identifies three distinct types of collaborations: transactional, integrative, and transformational, each creating unique ripples across the organizations and communities they touch. What stood out to me was the clarity they brought to these categories. Transactional efforts—like consulting or commissioned research—benefit the ACO directly. Integrative collaborations, however, foster mutual growth for both parties. But it’s the transformational partnerships that interest me most, where the impact radiates outward, reaching external stakeholders and creating societal change. > "This framework highlights how different types of collaboration can be designed to serve specific goals, whether internal growth or broader societal impact." How often do we pause to consider whether our creative tech collaborations are truly transformational—or are we settling for transactional? [Read the original article →](https://www.sciencedirect.com/science/article/pii/S0166497224002086?dgcid=rss%5Fsd%5Fall&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-34) ![The God Illusion: Why the Pope Is So Popular as a Deepfake Image](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_00396e54-ec65-466d-9287-cdc75a6e51a1.jpg) ## The God Illusion: Why the Pope Is So Popular as a Deepfake Image Experts in a recent article from *The Guardian* delve into the viral allure of Pope Francis as an AI deepfake muse, from his iconic Balenciaga puffer jacket moment to a bizarre embrace with Madonna. The piece also highlights the sheer ease of generating these images, thanks to AI tools like MidJourney and Krea.ai, and explores the satirical appeal of placing public figures in surreal contexts. Credit to the author for unpacking this fascinating phenomenon. I have to admit, that puffer jacket Pope was my introduction to the deepfake world, and I secretly loved it. What strikes me here is the contrast: Pope Francis as an unwilling participant, dragged into absurdity by algorithms, while Madonna gleefully leans into the scene, reposting AI creations as if it's her latest art project. It’s both amusing and oddly revealing about their public personas. > “The pope is so frequently featured in the public eye... it becomes a lot easier for these models to replicate the facial features and likeness of individuals like the pope,” says Sam Stockwell from the Alan Turing Institute. That digital omnipresence makes him an open canvas for satire, willing or not. Are these AI creations harmless fun, or do they blur the line between art and exploitation in ways we’re not ready for? [Read the original article →](https://www.theguardian.com/technology/2024/dec/21/the-god-illusion-why-the-pope-is-so-popular-as-a-deepfake-image?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-34) --- *AI IN VISUAL ARTS* --- ![Artist Protection Tools - Glaze Protects Artists by Preventing AI From Mimicking Their Unique Styles](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_b2d70f7b-92ef-4ef0-b752-9e74447a5164.jpg) ## Artist Protection Tools - Glaze Protects Artists by Preventing AI From Mimicking Their Unique Styles The **TrendHunter** article highlights Glaze, a tool from the Glaze Project that shields artists from generative AI systems mimicking their styles. It doesn’t just block direct replication; it disrupts AI’s ability to analyze and emulate the essence of an artist’s work—a critical innovation as these tools grow increasingly invasive. This raises a bigger, thornier question for me: what does it mean to own a style? AI doesn’t steal images outright; it replicates patterns, textures, and subtleties. But does that make your style—your fingerprint—any less yours? More pressing, though, is discoverability. As search engines shift toward generative AI, visibility becomes a new challenge. Artists may find themselves erased in a world where users simply ask, “Who’s a painter like X?” > "The real fear isn’t just theft—it’s being erased entirely. If ChatGPT doesn’t know you exist, how do new audiences find your work?" So, how do we ensure artists remain visible in a world driven by AI-driven search engines? [Read the original article →](https://www.trendhunter.com/trends/artist-protection?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-34) ![Artist Being Electrocuted to Show the Sinister Implications of AI Among Highlights of the Asia Pacific Triennial of Contemporary Art 11](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_eab11ca8-2fe1-4384-9e30-45a5fc34bcbc.jpg) ## Artist Being Electrocuted to Show the Sinister Implications of AI Among Highlights of the Asia Pacific Triennial of Contemporary Art 11 Thai artist Kawita Vatanajyankur's visceral performance, created with scientist Pat Pataranutaporn, is a centerpiece of the 11th Asia Pacific Triennial of Contemporary Art. As reported by *The Art Newspaper*, the piece, ***The Machine Ghost in the Human Shell***, involves Vatanajyankur enduring electric shocks as she struggles to draw a spiral—an unsettling critique on AI’s potential to dehumanize labor. The work, acquired by Queensland Art Gallery, explores how advancing technology might exploit humanity rather than empower it. Is self-harm as protest justifiable? I’ve wrestled with this. Historically, performance art has embraced physical endurance to provoke empathy or highlight injustice. > But here’s the thing: “I think it might evoke empathy from humans, but it is unlikely to convince any robots.” The question lingers: do acts like this actually shift perspectives, or do they merely leave us as uneasy spectators? What do you think? [Read the original article →](https://www.theartnewspaper.com/2024/12/03/artist-being-electrocuted-to-show-the-sinister-implications-of-ai-among-highlights-of-the-asia-pacific-triennial-of-contemporary-art-11?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-34) --- *PHOTOGRAPHY* --- ![Thirty-Six Views of the Moon: Reviewed by Brian Arnold](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5da8618c-445d-4428-b0d6-c6704e1e7ed7.jpg) ## Thirty-Six Views of the Moon: Reviewed by Brian Arnold Ala Ebtekar’s *Thirty-Six Views of the Moon*, reviewed by Brian Arnold, is a poetic intersection of science, art, and mysticism. Published by Radius Books, the cyanotype series uses negatives from the Lick Observatory, exposing sensitized pages from centuries-old books to moonlight. The result? A profound visual dialogue between the physical and the metaphysical, amplified by essays from diverse thinkers like Alexander Nemerov and Ladan Akbarnia. Reading about Ebtekar’s process brought me back to my early days at the University of Georgia, crafting pinhole cameras and using cyanotypes. “Seeing” was more about intuition and understanding light than mechanics—a mindset that shaped my entire approach to photography. It’s fascinating how the deliberate constraints of process can lead to unimagined discoveries. > "Ebtekar’s cyanotypes remind us that embracing the tactile, imperfect qualities of process reveals layers of meaning no algorithm could replicate." How does the handmade process shift your perception of art in a world dominated by technology? [Read the original article →](https://blog.photoeye.com/2024/12/thirty-six-views-of-moon-reviewed-by.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-34) --- *DEFINITELY NOT AI* --- ![Psychedelic Distortions and Glitches Streak Across Alexis Mata’s Bold Paintings](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e6cd8f6f-9a9a-4c2d-851c-b35c9089a119.jpg) ## Psychedelic Distortions and Glitches Streak Across Alexis Mata’s Bold Paintings Mexico City-based artist Alexis Mata bridges analog and digital worlds with his striking oil paintings, as explored in an article by Colossal. His work distorts traditional landscapes and still lifes into glitchy, surreal forms, mimicking digital mishaps like pixelation and compression artifacts. Mata’s process includes everything from AI experiments to hand-drawn sketches, weaving together technology and tradition to create something uniquely disorienting yet captivating. These paintings remind me of the early days of digital photography. My first digital camera had just 320 pixels of resolution, producing grainy, artifact-filled images. I recall a New York exhibition where artists blew up similar low-res photos to massive sizes—embracing and amplifying the imperfections. Mata's work feels like a continuation of this idea, but with oil paint as the medium, which gives it a fascinating organic twist. > "When your eyes look too long at the same thing, your mind makes the change," Mata explains. His art invites us to question perception itself—how our brains, like faulty algorithms, misinterpret and reconstruct what we see. How do you feel about glitch aesthetics—nostalgic experimentation or something more profound? [Read the original article →](https://www.thisiscolossal.com/2024/12/alexis-mata-glitch-paintings/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-34) --- *ART & SCIENCE* --- ![Museum's High-Tech Camera Is Helping to Monitor Meteorites Arriving From Space](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_71f0f2b0-089e-4d54-bce3-83db48f055fc.jpg) ## Museum's High-Tech Camera Is Helping to Monitor Meteorites Arriving From Space An intriguing piece from *North Wales Live* highlights how the Oriel Môn museum in Llangefni is stepping into the interstellar with a high-tech camera tracking meteorites. Partnering with the SCAMP network, this museum—better known for its connection to ancient history—is now collecting data on celestial fragments streaking through the Welsh sky. It’s a fascinating blend of science and the arts, with meteorites as cosmic artifacts joining school programs and public education. Here’s my take: there’s something poetic about a museum roof doubling as a gateway to the stars. A space rock crashing onto a driveway might sound like the setup to a sci-fi film, but these fragments hold deep stories about the universe’s beginnings. And isn’t that, in its own way, art? > “A meteorite could easily sit beside a sculpture or a painting—it’s a story frozen in physical form, traveling through time and space.” What do these fragments say about how we frame art and science as separate worlds? [Read the original article →](https://www.dailypost.co.uk/news/north-wales-news/museums-high-tech-camera-helping-30605850?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-34) ![The Hidden Science Swirling in ‘The Starry Night’](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d63fb147-6bd5-40ef-9735-19cd4d9b2982.jpg) ## The Hidden Science Swirling in ‘The Starry Night’ Researchers have long admired the swirling beauty of Vincent van Gogh’s *The Starry Night*. Now, as reported in *The Washington Post*, physicists are uncovering a deeper layer—one that resonates with the mathematical principles of turbulence. By analyzing the luminance and patterns of his brushstrokes, studies suggest that Van Gogh’s intuitive artistry mirrors statistical laws like Kolmogorov's scaling, typically used to describe chaotic fluid motion. This fascinates me. The idea that Van Gogh, through sheer observation and intuition, captured something as universal and complex as turbulence is both humbling and beautiful. It reminds us that science and art aren’t separate languages but overlapping ways of understanding the world. > “What I take away from studies like this,” astrophysicist James Beattie wrote, “is that Van Gogh captured some of this universality… The swirls and whirls—they are familiar to us.” Could the artist’s eye, unbound by equations, have glimpsed truths that scientists are only now quantifying? [Read the original article →](https://www.pressherald.com/2024/12/22/the-hidden-science-swirling-in-the-starry-night/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-34) --- *THE LAST WORD* --- Thanks for taking the time to explore these stories with me. I’m always inspired by the conversations sparked by these topics, and I’d love to hear your thoughts on the questions raised. Whether it’s the role of nostalgia in art, the ethics of AI, or how we define creativity in a tech-driven world, let’s keep the dialogue going. Your interest and support mean a great deal. These discussions are richer because of your engagement, so don’t hesitate to share your perspectives or even recommend topics for future editions. Together, let’s continue to explore and question the evolving relationship between art and technology. Warm regards, Juergen ### The Past’s Future: What Retro Tech Art Tells Us About Now URL: https://theintersect.art/issues/33/ Last updated: 2026-07-14T17:12:14.000Z Hi everyone, As the holiday season approaches, I hope you're finding moments of joy and reflection. This week’s edition explores how technology continues to reshape the creative landscape, often in surprising ways. From AI-authenticated art shaking up the auction world to photorealistic 3D environments redefining storytelling workflows, the dialogue between art and tech remains as dynamic as ever. You’ll also read about how artists are leveraging generative AI to challenge cultural norms and how designers are embracing AI’s practicality to innovate in architecture and graphic design. These stories not only spotlight advancements but also raise important questions about authorship, authenticity, and creativity. I hope this edition inspires you to think about how these intersections could shape your own creative journey. Wishing you a festive season filled with inspiration and creativity. --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Play with AI Like Your Career Depends on It (it Does)](https://theintersect.art/content/images/2026/07/polymash_A_newsroom_with_a_large_window_and_numerous_desks_is_8c1e44af-d3c8-472e-85cd-743016f3e8e0_0.jpg) ## Play with AI Like Your Career Depends on It (it Does) Marie Gilot’s article for Nieman Lab makes a bold case: if you’re a journalist—or anyone in a creative field—you can’t afford to ignore AI. She points out that AI tools, like ChatGPT, are still accessible and inexpensive, making this the perfect time to experiment. The future, she warns, may not be so forgiving when these technologies evolve into gated, commercialized products. As someone working at the intersection of art and technology, I see parallels for us. AI tools are shaping up to be as foundational to our creative toolkit as a paintbrush or a MIDI controller. Ignoring them now might feel like a moral stance, but it could leave you scrambling later. There’s no shame in learning through play. > “They don’t try to slow the train; they jump aboard and poke around the engine room. They haven’t broken anything and you won’t either,” Gilot writes. Are we willing to risk irrelevance by sitting on the sidelines? Or is it time to jump into the engine room ourselves? [Read the original article →](https://www.niemanlab.org/2024/12/play-with-ai-like-your-career-depends-on-it-it-does/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-33) --- *PHOTOGRAPHY* --- ![Funhouse Mirror: The Controversial AI-Photography by Charlie Engman](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_498d7367-ed31-4952-9e9f-ecfc926b8631.jpg) ## Funhouse Mirror: The Controversial AI-Photography by Charlie Engman Charlie Engman’s recent exploration of AI-photography, as detailed in *Design You Trust*, pushes the boundaries of what we define as photographic art. Engman, a New York-based artist and educator, uses generative AI tools to create images that challenge cultural norms and visual expectations. His work, described as a “funhouse mirror” of preexisting imagery, reflects a fascinating interplay between human input and unpredictable machine logic. What strikes me most about this approach is how far AI art has evolved from its early days. This isn’t just typing a prompt and letting the system do the heavy lifting. Artists like Engman are shaping a distinct design language—layering, refining, and reimagining their visions through painstaking effort. The result is far more intentional than it might appear at first glance. > “There is a beautiful collapse of category distinctions and a dynamic interplay between un-indoctrinated naivety and an appreciation of precedent,” Engman explains. Are we ready to embrace this new form of authorship, or does it challenge the very essence of what we consider "art"? [Read the original article →](https://designyoutrust.com/2024/12/funhouse-mirror-the-controversial-ai-photography-by-charlie-engman/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-33) --- *DESIGN* --- ![Carmit Makler Haller on the Intersection of Design, Culture, and Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_50f23b06-501a-40e2-bdaa-518dbab57855.jpg) ## Carmit Makler Haller on the Intersection of Design, Culture, and Technology Carmit Makler Haller’s recent feature on the **Graphis Blog** explores how poster design connects culture, technology, and identity. Her works, *Dynamic* and *Future?*, use vibrant layouts and AI-generated textures to question the pace of modern life and the role of artificial intelligence. Through exhibitions in China and Japan, Haller challenges us to rethink how design reflects and critiques technological change. It’s fascinating to consider how posters, with their vertical layouts, echo the formats dominating platforms like Instagram Stories or TikTok. These spaces already amplify design and messaging, but seeing posters as intentional, thought-provoking reflections of rapid tech shifts opens a broader conversation. Could these formats evolve into spaces for deeper visual dialogue? > “AI now imitates the human brain in ways that seem limitless. It’s a powerful tool—but will it solve humanity’s problems or create new ones?” writes Haller, raising questions we all need to face. How do we use these formats not just to scroll but to stop, think, and connect? [Read the original article →](https://blog.graphis.com/poster-carmitmaklerhaller-dynamicfuture/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-33) ![Taiwan Design Week Returns for Its Second Edition with AI-Focused Theme](https://theintersect.art/content/images/2026/07/2024-12-11_11-48-13.jpg) ## Taiwan Design Week Returns for Its Second Edition with AI-Focused Theme Taiwan Design Week's second edition, reported by *Dezeen*, dives into AI's influence on design, architecture, and creativity from December 7–15 in Taipei. Organized by the Taiwan Design Research Institute, the event features over 30 design teams and installations such as Studio MMR's "Synthetic Storyteller," which uses AI to predict lifestyles, blending machine learning with human needs. Here on *The Intersect*, I see this as less about existential debates and more about AI’s practical role in design disciplines. Unlike art, which wrestles with questions of authenticity and creation, design fields like architecture and graphic design appear to embrace AI as a tool. The Taiwanese exhibition underscores this, emphasizing utility rather than introspection. > "These exhibits explore the diverse possibilities of integrating generative AI into work and life," the organizers note. This pragmatic approach contrasts sharply with art's deeper philosophical struggles. Can design's functional embrace of AI help illuminate its potential role in art—or does it further widen the gap? [Read the original article →](https://www.dezeen.com/2024/12/11/taiwan-design-week-second-edition-ai-theme/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-33) ![Canva Revolutionized Graphic Design. Will It Survive the Age of AI?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_30b90807-0cc8-4e6b-9b2d-c0e570d0d4ca.jpg) ## Canva Revolutionized Graphic Design. Will It Survive the Age of AI? Generative AI could have been an existential threat for Canva, which made billions by making graphic design quick and easy. Victoria Turk’s Wired piece on Canva CEO Melanie Perkins explores how the platform is navigating the AI revolution—not as a threat, but as an opportunity. Perkins explains that Canva’s vision was always to simplify the path from idea to design, and integrating AI tools like Magic Studio and acquiring platforms such as Leonardo.ai is an extension of that mission. Rather than fearing disruption, Canva embraced AI to strengthen its platform and expand its relevance, even in a rapidly shifting design industry. This approach offers an important lesson for artists. It’s easy to see AI as a force that undermines traditional creativity, but Canva’s strategy underscores the value of adapting rather than resisting. By incorporating AI into their ecosystem, they’re not replacing creators—they’re empowering them to work faster and more efficiently, while making design accessible to new audiences. > “Canva’s example shows that survival in the face of technological change isn’t about competing against new tools, but about integrating them to enhance what’s possible.” For artists, the question becomes: how can we use AI to expand our creative potential, rather than seeing it as a limitation? [Read the original article →](https://www.wired.com/story/canva-ceo-melanie-perkins-interview/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-33) --- *ARCHITECTURE* --- ![Rise of Parametric Design in Shaping the Future of Architecture](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d5fc62ba-5aac-40ca-ab5b-6943ef29d652.jpg) ## Rise of Parametric Design in Shaping the Future of Architecture Parametric architecture, as highlighted in an article from *Parametric Architecture*, integrates computational tools and data-driven processes to craft adaptive, sustainable, and visually striking structures. This algorithm-based approach is reshaping architectural possibilities, delivering designs that were previously unattainable. The focus isn’t just on aesthetics—it’s about blending innovation with environmental mindfulness. My understanding of parametric architecture is rooted in its dual commitment to form and function. What fascinates me is its ability to create intricate designs while maintaining low energy consumption and environmental harmony. It reminds me of the age-old debate: does form follow function, or does function follow form? Parametric architecture seems to answer boldly—why not both? > “It’s exciting to think that something algorithmic can also feel so organic—like nature itself played a role in the design.” How will these technological tools shape not just buildings but the environments we live in? [Read the original article →](https://www.re-thinkingthefuture.com/architectural-styles/a3824-the-rise-of-parametric-architecture/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-33) --- *GAMING* --- ![Take a Look at This Photorealistic 3D Italian City Scene Made With UE5](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_0557831f-3582-4881-8095-afff2b3c3001.jpg) ## Take a Look at This Photorealistic 3D Italian City Scene Made With UE5 The recent article by Emma Collins on 80 Level highlights a stunning photorealistic 3D Italian city scene created in Unreal Engine 5 by Scans Factory. With over 600 photogrammetry-based assets captured in Rome, the scene is optimized for video games, VR, virtual production, and more, offering a cinematic experience that could easily be mistaken for real-life footage. The level of detail—from weathered cobblestones to reflective cutlery—delivers an immersive aesthetic that feels like stepping into an Italian postcard. What fascinates me here is how these pre-made 3D environments are reshaping creative workflows. The ability to purchase a fully realized city and manipulate it with virtual cameras is a game-changer. As tools like OpenAI’s Soarer gain traction, integrating these assets into entirely new forms of storytelling becomes even more accessible. > "I’ve just spent the afternoon playing with Soarer, and it’s remarkable. Pairing these detailed 3D models with AI-powered video tools lets you combine your creativity with pre-existing digital worlds, unlocking storytelling possibilities we’re only beginning to grasp." If you could create a virtual city to tell your own story, what would it look like? [Read the original article →](https://80.lv/articles/take-a-look-at-this-photorealistic-3d-italian-city-scene-made-with-ue5?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-33) --- *EXHIBITIONS & EVENTS* --- ![Electric Dreams: Art and Technology Before the Internet at the Tate Offers a Glimpse Into the Future Past](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8b51cdf9-e9e2-4368-a53d-86704fdaa188.jpg) ## Electric Dreams: Art and Technology Before the Internet at the Tate Offers a Glimpse Into the Future Past The recent article by Geoff Cox in *The Conversation* explores “Electric Dreams: Art and Technology Before the Internet,” now showing at the Tate Modern. The exhibition examines how artists from the past imagined a future shaped by machines, offering a striking perspective on how those visions align—or don’t—with our reality today. From AI pioneers like Harold Cohen and his painting algorithms to Brion Gysin’s hallucinatory Dreamachine, the show situates early tech-art experiments in a context that resonates with today’s AI debates. As someone who grew up enchanted by the optimistic tech futures of *Star Trek*, I’m fascinated by this idea of a “future past.” Many of the imagined breakthroughs—like handheld tablets—are now everyday tools. But the promises of cheap energy or medical marvels remain elusive, a reminder of how uneven progress can be. > "The exhibition revisits a past in which artists dreamed of a future that we are no longer able to envision," Cox observes, capturing the bittersweet tension between technological optimism and its missed opportunities. How might today’s AI “dreams” look to someone decades from now? Will they marvel at our achievements—or lament what we failed to imagine altogether? [Read the original article →](https://theconversation.com/electric-dreams-art-and-technology-before-the-internet-at-the-tate-offers-a-glimpse-into-the-future-past-245603?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-33) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Swiss Auction House Becomes First to Sell Artwork Authenticated Solely By AI](https://theintersect.art/content/images/2026/07/2024-12-13_11-56-58.jpg) ## Swiss Auction House Becomes First to Sell Artwork Authenticated Solely By AI A recent piece from *ARTnews*, authored by George Nelson, highlights the Germann Auction House in Zürich selling a Marianne von Werefkin watercolor authenticated solely by AI. The work fetched nearly $17,000, double its high estimate, thanks to a free pilot collaboration with the Swiss-based company Art Recognition. Their standalone algorithm claims high accuracy without human judgment during evaluation, raising questions about the evolving role of AI in the art market. I’ve long been intrigued by AI’s ability to trace provenance, but I can’t shake the sense that its use in auctions feels more like a marketing strategy than a seismic shift in authentication practices. Pairing AI with traditional expertise seems less about innovation and more about selling “trust” as a premium feature. > “If you were buying an expensive piece of art, would you really trust AI alone—or does its value lie in enhancing human judgment, not replacing it?” Could this hybrid model become a new standard, or does it risk commodifying authenticity? [Read the original article →](https://www.artnews.com/art-news/news/swiss-auction-house-is-the-first-in-the-world-to-sell-artwork-authenticated-solely-by-ai-1234725695/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-33) --- *FUTURE TRENDS IN ART AND TECH* --- ![The Future of Art Presentation: Merging Technology with Creative Expression](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c56a4930-4dd8-4767-a40e-a38d00a6f764.jpg) ## The Future of Art Presentation: Merging Technology with Creative Expression Janus from Artsology explores how technology is transforming art presentation, granting artists the ability to break geographical barriers and connect with global audiences. Digital tools offer innovative ways to showcase work, from virtual galleries to interactive experiences, emphasizing the evolution of art in a digital age. This shift not only enhances accessibility but also invites deeper engagement with the viewer. > "As someone deeply involved with nonprofits and partners aiding underrepresented artists, the potential of these technologies to promote and celebrate art is highly appealing. Many artists find marketing challenging, so any platform that amplifies their voice is invaluable. I'm particularly keen on discovering tools that simplify this process and increase visibility for diverse artists." Could digital innovation be the answer to bridging the gap between artistic talent and global recognition? This transition poses both exciting opportunities and challenges for artists worldwide. [Read the original article →](https://artsology.com/blog/2024/12/the-future-of-art-presentation-merging-technology-with-creative-expression/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-33) --- *THE LAST WORD* --- Thank you for spending time with me today to reflect on the ever-evolving intersection of art and technology. Your engagement fuels these explorations and keeps this dialogue alive. If any of these stories resonate with you—or spark new questions—I’d love to hear your thoughts. Let’s continue exploring these fascinating intersections together and see where they lead us. Warm regards, Juergen ### Stories Behind Faces: Portraits in a Digital World URL: https://theintersect.art/issues/32/ Last updated: 2026-07-14T17:12:42.000Z Hi folks, This edition explores the fascinating space where technology meets artistry. We begin with Shelly Palmer's thought-provoking stance on AI-generated music—does it matter who or what created a tune if we can't tell the difference? Then, there's the buzz around Spotify's Wrapped feature, where some feel it lost its creative touch by relying too much on algorithms. You'll also read about Google Photos' surprisingly thoughtful AI recaps, and a theater production that uses robots to mirror human imperfections. Additionally, we're looking at how AI predicts which art pieces stick in our minds, the potential of telepresence robots in museums, and an artist's creative use of electronic waste. Each story offers a chance to reflect on how technology shapes our experiences, for better or worse. --- *ART NARRATIVES* --- ![National Portrait Gallery Partners with Immersive Institution to Tell the Human Stories Behind Its Collection](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_596099f1-142e-4cce-9a40-8adccaf442c9.jpg) ## National Portrait Gallery Partners with Immersive Institution to Tell the Human Stories Behind Its Collection The *Art Newspaper* reports that London’s National Portrait Gallery is teaming up with Frameless Creative for a touring immersive project called *Stories – Brought to Life*. Launching in May 2025 at MediaCity, Salford, this initiative pairs curators with digital storytellers to explore the lives behind iconic portraits. Frameless promises “Hollywood-style visual effects” to reintroduce works ranging from Elizabeth I to Liam Gallagher. I’m fascinated by this approach. Portraits often feel familiar, but how often do we really *know* their stories? Museums tend to offer minimal context—just a plaque with sparse details. But storytelling, especially in a multimedia format, could unlock so much more. Imagine the impact of hearing the voice behind the brushstroke or the history lurking in the background. > “Even the act of curating works of art into a series has some sort of implied narrative within it. So, why not extend that and take it much further?” Does this signal a shift where museums become not just guardians of art but narrators of its soul? [Read the original article →](https://www.theartnewspaper.com/2024/12/05/londons-national-portrait-gallery-partners-with-immersive-institution-to-tell-the-human-stories-behind-its-collection?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-32) --- *TECHNOLOGY IN MUSIC* --- ![If You Can’t Tell If The Music Is Created By AI, It Doesn’t Matter](https://theintersect.art/content/images/2026/07/artificial-creativity.jpg) ## If You Can’t Tell If The Music Is Created By AI, It Doesn’t Matter Shelly Palmer’s recent article, *If You Can’t Tell If The Music Is Created By AI, It Doesn’t Matter*, raises a provocative point: if audiences can’t differentiate between AI-generated and human-created music—or simply don’t care—does it even matter who (or what) created it? Palmer highlights how AI is now producing commercial music that meets emotional and technical requirements at a fraction of the cost, leaving businesses to question the necessity of human composers. Here’s where I struggle. It’s not just about the final product but the story of its creation. Would you feel differently about a song you love if you found out it came from an algorithm, not an artist? This reminds me of the debate around enjoying works by controversial creators like Roman Polanski—can we separate the creation from the creator? > “If the audience can’t tell the difference… for all practical purposes, there is none.” —Shelly Palmer So, does knowing *how* something was made change its value, or is the experience all that matters? [Read the original article →](https://shellypalmer.com/2025/09/if-you-tell-the-difference-there-is-no-difference/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-32) ![‘So LAZY This Year’: The Internet Is Furious that Spotify Wrapped Embraced AI—and Got Boring](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_45da5b55-9ec0-4c0f-a80a-69af31d3d6d9.jpg) ## ‘So LAZY This Year’: The Internet Is Furious that Spotify Wrapped Embraced AI—and Got Boring Spotify Wrapped has always been a playful snapshot of our listening habits, but as Kat Tenbarge highlights in NBC News, this year’s version leaned heavily into AI-generated features—and users weren’t impressed. Many felt it lacked the creative spark that once made it a joy to share. The internet didn’t hold back, with some calling it “lazy” and others mourning its shift from quirky fun to algorithmic blandness. Elsewhere in this issue, I talked about those auto-generated “year in review” videos from Google, Apple, and Facebook. They’ve got their charm, but they often feel like they’re built for machines, not people. Spotify’s misstep made me laugh because it’s the same problem: relying on AI to replace creativity instead of enhancing it. > “When AI becomes the main act instead of the supporting player, you get something that feels efficient but uninspired.” What’s the line between useful tech and losing the human touch? [Read the original article →](https://www.fastcompany.com/91241436/internet-furious-2024-spotify-wrapped-ai-boring?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-32) --- *FILM & VIDEO* --- ![Theatre in Review: We Are Your Robots (Theatre for a New Audience/Rattlestick Theater)](https://theintersect.art/content/images/2026/07/IMG_4740.jpg) ## Theatre in Review: We Are Your Robots (Theatre for a New Audience/Rattlestick Theater) Ethan Lipton’s **We Are Your Robots**, reviewed by David Barbour for *Lighting & Sound America*, blends jazz, sci-fi, and biting cultural commentary into a theatrical cabaret. The show features Lipton as the frontman for a band of musical “automatons,” riffing on AI, panpsychism, and humanity’s penchant for self-destruction. The production is packed with sharp humor, rich musical performances, and clever design elements like Katherine Freer’s robot-inspired projections. But as Barbour notes, its conclusion drags, losing some steam before the final curtain. Here’s my take: can we give AI a break? It feels like every creative conversation gets looped back to algorithms and singularities. What happened to stories that stretch beyond today’s saturation points? I want theater to surprise me, not just echo TED Talks. > “If robots are fatal to humanity, it’s because they too accurately reflect our most violent flaws,” Lipton suggests. That’s a heavy thesis wrapped in comedy, music, and robot suits. Do we need art to keep mirroring our anxieties, or is it time to tell stories that imagine something radically different? [Read the original article →](http://www.lightingandsoundamerica.com/news/story.asp?ID=-X4G6CU&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-32) --- *PHOTOGRAPHY* --- ![Google Photos Does a Surprisingly Good Job at Recapping the Year With Gemini](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ef13a1bf-7b85-4ae0-8974-4ec6773dc5dd.jpg) ## Google Photos Does a Surprisingly Good Job at Recapping the Year With Gemini Florence Ion at *Gizmodo* highlights how Google Photos’ year-end “Your Recap” feature, especially its AI-powered Gemini version, is pleasing users with personalized captions and vivid summaries of their most memorable moments. Unlike Spotify’s attempt at AI personalization, this one seems to avoid the usual cringeworthy pitfalls. As a photographer, I’ve always enjoyed these year-end reflections. Platforms like Facebook and Apple Photos turn my travel snapshots into engaging mini-films, giving me a fresh perspective on the year. While I’m deeply entrenched in the Apple ecosystem and rarely use Google Photos, I can’t help but admire the way these tools reinterpret our experiences through algorithms. > “It surfaces the most memorable moments from the year as Google’s algorithms interpret them,” writes Ion. “There’s even an option that reveals your color palette for the year.” Do these digital curations truly capture the emotional depth of our memories, or do they simply mirror what the algorithm thinks matters most? [Read the original article →](https://gizmodo.com/google-photos-does-a-surprisingly-good-job-at-recapping-the-year-with-gemini-2000535431?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-32) --- *ART & SCIENCE* --- ![Art of Science: Memory for Artwork is Predictable](https://theintersect.art/content/images/2026/07/image-42-cropped_2-used.jpg) ## Art of Science: Memory for Artwork is Predictable In a fascinating exploration of memory and art, *The Visualist* highlighted a recent talk by Prof. Wilma Bainbridge of the University of Chicago. Her research reveals that certain artworks are inherently more memorable due to their visual features. Even more intriguing, her lab developed an AI capable of predicting which pieces people are likely to remember—tested successfully during a study at the Art Institute of Chicago. This hit close to home for me. As both an artist and someone involved in marketing, I couldn’t help but laugh at the idea of intentionally crafting forgettable artwork. It’s such a strange, yet oddly liberating, thought experiment. > Of course, I think I’d excel at making forgettable art. Sometimes, it feels like my sketchbooks are full of them already. Maybe that’s where my true talent lies—creating subtle, quiet works that fade into the background. What do you think makes a piece of art unforgettable—or forgettable? [Read the original article →](https://thevisualist.org/2024/12/art-of-science-memory-for-artwork-is-predictable/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-32) ![Artie, The Tour Robot: Best Practices in Blending Art, Technology, and Healthcare](https://theintersect.art/content/images/2026/07/2024-12-07_16-15-47.jpg) ## Artie, The Tour Robot: Best Practices in Blending Art, Technology, and Healthcare At The Ringling in Sarasota, Florida, a collaboration with Sarasota Memorial Healthcare has produced Artie, a telepresence robot that brings museum tours to hospital patients. As detailed in *MuseumNext’s* article, this initiative combines art, technology, and healthcare to provide a unique form of integrative care. Artie's mobility and 4K camera make it possible for patients to engage with art from their hospital beds, offering relief from pain and anxiety. I have to admit, I’m not entirely convinced an art robot would brighten my spirits during a hospital stay. Still, living in Sarasota, it’s a quirky possibility I might encounter. The concept itself is undeniably fascinating—technology as a literal bridge between healing and creativity. > "Artie demonstrates how museums can step beyond their walls and redefine their role as active agents of societal well-being," writes *MuseumNext*. It’s a bold vision, even if a robot tour guide feels a bit... impersonal. Would a virtual art experience like this truly comfort you, or does art lose something essential when the human connection is replaced by a screen? [Read the original article →](https://www.museumnext.com/article/artie-the-tour-robot-best-practices-in-blending-art-technology-and-healthcare/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-32) --- *SUSTAINABILITY IN ART AND TECH* --- ![Friedrich Boell: Ladebalken (Buffering) / KHM at Art Cologne 2024.](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_18c10b26-b00a-46d5-9b17-bb796bebcbd7.jpg) ## Friedrich Boell: Ladebalken (Buffering) / KHM at Art Cologne 2024. Friedrich Boell’s work, *Ladebalken (Buffering)*, showcased at Art Cologne 2024, is highlighted in an article by VernissageTV. Boell, a media artist from Wesel, integrates digital technologies like 3D modeling and reverse engineering into his art, often using recycled electronic waste as his primary material. His background in IT and media arts, along with his time in Cologne—where he studied at the Academy of Media Arts—shapes his unique approach to rethinking discarded technology. What truly resonates with me is his use of electronic waste. Growing up near Wesel, where my aunt still lives, and having lived just a few hours north of Cologne myself, Boell’s trajectory feels oddly familiar. His ability to transform technological debris into something meaningful is both creative and deeply necessary today. > "The mountains of electronic scrap behind the flashing digital façade" inspired Boell’s practice—a stark reminder of the waste our digital lives generate. Do we see the art in the discarded, or do we let it pile up unnoticed? [Read the original article →](https://vernissage.tv/2024/11/27/friedrich-boell-ladebalken-buffering-khm-at-art-cologne-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-32) --- *VIRTUAL AND AUGMENTED REALITY IN ART* --- ![Museums without Vitrines: The Scottish Research Team Transforming the Way We View Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_dbf72ae0-fc72-4c75-a3a4-c07126167919.jpg) ## Museums without Vitrines: The Scottish Research Team Transforming the Way We View Art A recent piece by *The Art Newspaper* highlights a project from the University of Glasgow that uses extended reality (XR) to create virtual museums. Through photogrammetry and VR headsets, users can explore high-fidelity 3D models of artifacts like the Lewis chess pieces, manipulating their scale and viewing them up close. Researchers envision this as a way to democratize access to cultural heritage while sidestepping intellectual property issues. For me, this raises a deeper question about how we display stolen artifacts often tied to colonial histories. Imagine a world where technology could credibly showcase these works in their original contexts—free of glass cases and colonial narratives. But honestly, lugging around a VR headset doesn’t excite me. > "If this tech evolves into holograms in physical spaces, where I can walk freely like in a real museum, then I’m all in. Until then, it’s not quite there for me." What about you—would you embrace this virtual shift or hold out for something more tangible? [Read the original article →](https://www.theartnewspaper.com/2024/12/06/how-museums-in-the-metaverse-is-transforming-the-way-we-view-art?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-32) --- *ART AND POLITICS* --- ![Hollywood Protest Meets AI News in Marco Brambilla’s US Media Critique Video Installation](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_454ebca9-fa3f-4b03-a8da-c8611bc22b70.jpg) ## Hollywood Protest Meets AI News in Marco Brambilla’s US Media Critique Video Installation Marco Brambilla’s *Limit of Control*, featured in *designboom*, is a layered critique of media politics and the erosion of truth in the digital age. Presented at New York’s bitforms gallery, the video installation combines AI-generated imagery, Hollywood footage, and protest recordings, creating a frenetic montage that mirrors the chaos of modern media consumption. The rapid-fire, almost hypnotic visuals straddle photorealism and surreal abstraction, blurring the line between reality and fabrication. While I found the sequencing overwhelming, some stills and collages stood out as compelling moments of visual clarity. It’s a fascinating project, though I admit it was hard to fully enjoy due to the sensory overload. > Both disturbing and interesting, the imagery and videos created in this artwork are a little hard to enjoy for me, primarily due to the rapid-fire sequencing. However, I appreciated some of the stills and superimposed collages that were part of this project. Does this type of art provoke understanding—or just exhaustion? [Read the original article →](https://www.designboom.com/art/ai-driven-imagery-realily-marco-brambilla-us-media-critique-video-installation-12-05-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-32) --- *THE LAST WORD* --- I appreciate you joining me on this exploration of where art and technology intersect. Your interest and engagement are what make these discussions valuable. If any of these topics sparked a thought, I'd love to hear your perspective. Let's keep this conversation alive and continue to explore these compelling intersections together. Best, Juergen ### Art's New Frontiers: From Promptography to Gaming Worlds URL: https://theintersect.art/issues/31/ Last updated: 2026-07-14T17:13:13.000Z Hi everyone, In this edition, we're traversing the landscapes where technology and art not only meet but reshape each other. We start with Maja Korczyńska's exploration of identity in the digital age, questioning how AI-generated imagery challenges our perceptions of truth. We then shift gears to the economic hurdles facing UK artists, with AI playing a pivotal yet controversial role. Over in Australia, technology is infusing new life into the art scene, blending digital tools with traditional creativity. From the rebranding of AI-generated art as "promptography" to the intersection of gaming and cinema, we’re witnessing shifts that redefine creative expression. Each piece invites us to consider how these innovations impact our understanding and experience of art, urging us to look beyond the surface. --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Maja Korczyńska infiniteartist: Models of Identity in the Digital Era](https://theintersect.art/content/images/2026/07/2024-11-25_11-17-13.jpg) ## Maja Korczyńska infiniteartist: Models of Identity in the Digital Era Maja Korczyńska’s project *infiniteartist*, as detailed in her recent work, dissects identity’s fluidity in the digital age, using AI and generative algorithms to create fragmented, evolving versions of herself. Published on Network Cultures, her exploration of the “post-face,” a term coined by Anna Szyjkowska-Piotrowska, examines how digital manipulation has redefined the face—not as a marker of identity but as a malleable, unstable surface. This aligns with today’s “post-truth” world, where facts are overshadowed by personal beliefs. Similarly, the rise of AI-generated imagery calls into question the authenticity of visual media. What we once trusted as evidence now feels unmoored, requiring us to approach images with the same skepticism we apply to contested facts. > "The face, no longer just a face but a *post-face*, continues its presence in the realm of visual representation, undergoing dynamic transformations in the way it is depicted," Korczyńska writes. It’s a reminder that reality itself is increasingly fluid. If faces and images can lie, what truths are left to anchor us? [Read the original article →](https://networkcultures.org/blog/2024/11/25/maja-korczynska-infiniteartist-models-of-identity-in-the-digital-era/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-31) ![Britain Faces ‘talent Drain’ of Visual Artists as Earnings Fall by 40% Since 2010](https://theintersect.art/content/images/2026/07/2024-11-25_11-19-24.jpg) ## Britain Faces ‘talent Drain’ of Visual Artists as Earnings Fall by 40% Since 2010 Earnings for UK visual artists have dropped by 40% since 2010, according to *The Guardian*. A report from the Design and Artists Copyright Society (DACS) highlights a median income of just £12,500, with artists citing instability, inflation, funding cuts, and AI as key pressures. CEO Christian Zimmermann warns of a potential “talent drain” to EU countries offering better conditions. It’s hard to ignore Brexit here. While global trends like rising rents and AI’s encroachment are universal, the UK’s additional barriers—like reduced EU funding and fewer cross-border opportunities—compound the problem. AI, meanwhile, feels like a scapegoat at times, though its role in devaluing entry-level creative work is undeniable. > “It’s very tempting to lay the blame at the feet of AI,” said researcher Dr. Amy Thomas, “but I think it is the straw that broke the camel’s back.” Are we witnessing a uniquely British crisis, or is this just the new global normal for creative professions? [Read the original article →](https://www.theguardian.com/artanddesign/2024/nov/25/britain-faces-talent-drain-visual-artists-earnings-fall?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-31) ![Technology and Art in Australia’s Contemporary Scene](https://theintersect.art/content/images/2026/07/woman-8499959_1920.jpg) ## Technology and Art in Australia’s Contemporary Scene Australia’s art scene is evolving, and Gaston La-Gaffe’s article highlights how technology is reshaping creative expression. From Stuart Campbell’s AR/VR storytelling to the Australian Centre for the Moving Image integrating AI into immersive installations, it’s clear that digital tools are becoming central to artistic practice. Even festivals like Vivid Sydney and Dark Mofo push boundaries with projection mapping and other tech-driven techniques. I’ve never thought of art and technology as having a “fine line.” To me, they’re more like co-conspirators, constantly blending and reshaping each other. What fascinates me, though, is how cultural context shapes this relationship. My wife is from Sydney, so I’ve seen firsthand how festivals like Vivid Sydney transform familiar landmarks into dazzling canvases. > "The scene is obviously going high-tech because new mediums as well as tools allow creative individuals to come up with brand new forms of artwork," La-Gaffe writes. How do you think tech changes how we experience art, not just as creators but as viewers? [Read the original article →](https://fadmagazine.com/2024/11/20/technology-and-art-in-australias-contemporary-scene/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-31) --- *AI IN VISUAL ARTS* --- ![These Artists Are Rebranding AI Image Generation with A New Name](https://theintersect.art/content/images/2026/07/2024-11-25_11-15-59.jpg) ## These Artists Are Rebranding AI Image Generation with A New Name The term "promptography," first coined by Peruvian photographer Christian Vince and later championed by Berlin-based artist Boris Eldagsen, is gaining traction. As detailed in *Fast Company*, the hashtag #promptography has been used over 80,000 times on Instagram, with artists like Stefanie Lefebvre and Annika Nordenskiöld proudly identifying as “promptographers.” This deliberate rebranding aims to distinguish the craft of AI image generation from traditional photography. Here’s what I find compelling: language matters. A term like “promptography” doesn’t just describe a process—it reframes it. It shifts the narrative from “AI does all the work” to something more nuanced, where the artist’s intent and skill are central. > “While AI brings unpredictability, it’s my responsibility to shape that unpredictability into a cohesive and compelling vision,” says artist Marcus Wallinder. Can a single word change perceptions? Or does the stigma around AI’s role in art run deeper than terminology? [Read the original article →](https://www.fastcompany.com/91228920/ai-photography-rebrands-as-promptography?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-31) --- *INTERACTIVE ART* --- ![Gifts That Don’t Suck](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_91a66318-fdbf-4a03-9905-8edca82d59ad.jpg) ## Gifts That Don’t Suck Carefully curated by Accidentally Wes Anderson, "Gifts That Don’t Suck" is a 2024 gift guide that highlights unique finds from local businesses, small shops, and, of course, AWA’s own collection. The list is packed with whimsical, offbeat treasures that feel plucked straight out of a Wes Anderson film set—a must-read for fans of distinctive and thoughtful gifts. Here’s a gift guide I can genuinely get behind. If you know me, you know my obsession with the Wes Anderson aesthetic runs deep. I even publish a Medium series, *Accidental Aesthetics*, featuring my travel photography inspired by his world of symmetry, pastel tones, and quirkiness. This guide captures that same spirit, blending the unusual and the charming in a way that feels personal. > “I have an affinity for the whimsical, unusual, and colorful, and these gifts perfectly align with those preferences.” What’s your favorite gift that channels a little eccentricity and charm? [Read the original article →](https://shop.accidentallywesanderson.com/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-31) --- *ARCHITECTURE* --- ![vRenzo Piano’s Civic Icons - 2025 Guideline](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d2e8dc13-f891-4349-901c-6c95c6e4cb5b.jpg) ## vRenzo Piano’s Civic Icons - 2025 Guideline Renzo Piano's work, as highlighted by Nikitha Sunil on Parametric Architecture, reflects his philosophy of architecture as a unifying force. His designs, like The Shard and Kansai Airport, are more than mere structures; they are civic icons that blend technology, culture, and human connection, setting new benchmarks for inclusivity and sustainability. Personally, in a time of such division, especially in the US and globally, art often feels like a protest. Yet, Piano’s architectural spaces, particularly transportation hubs, serve as genuine bridges across societal divides. They embody a shared experience that transcends class and identity, reinforcing my belief in their power to unite. "Architectural common spaces, especially those related to transportation, truly bridge gaps between the various classes and segments of society. I appreciate them for that reason." Are we ready to embrace architecture as a catalyst for unity, or will it remain an untapped potential in our quest for societal cohesion? [Read the original article →](https://parametric-architecture.com/renzo-pianos-civic-icons-redefining/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-31) ![Frank Gehry’s Digital Blueprint: Revolutionising Architecture with Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ba4dd7e1-d983-481c-a252-e20a8f1f443c.jpg) ## Frank Gehry’s Digital Blueprint: Revolutionising Architecture with Technology Frank Gehry’s work, as highlighted in an article by ArchDaily, showcases how technology can elevate artistry. His use of CATIA software—originally for aerospace engineering—allowed him to craft architectural icons like the Guggenheim Museum Bilbao and Walt Disney Concert Hall. Gehry’s approach wasn’t just about efficiency; it was about bending technology to serve imagination, reshaping architecture in the process. This reminds me of the perpetual tension between "form follows function" and its reversal. Gehry seems to sidestep this entirely, proving that advanced engineering can do more than just support an idea—it can embody it. Sculpture and structure merge, and the result feels organic, like art and science finishing each other's sentences. > “Gehry didn’t just adopt tech; he redefined how we think about form, showing that technology isn’t the antithesis of creativity—it’s often the key to unlocking it.” Does this mean we’ve reached a point where the tools we use shape our artistic limits—or is it the other way around? [Read the original article →](https://parametric-architecture.com/frank-gehrys-digital-blueprint-revolutionising/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-31) --- *GAMING* --- ![The Intersection of Gaming and Popular Culture](https://theintersect.art/content/images/2026/07/1-1024x684.jpg) ## The Intersection of Gaming and Popular Culture Video games and movies are increasingly intertwined, as Ernest Hemingway explores in his article, "The Intersection of Gaming and Popular Culture." He highlights how these mediums borrow from each other—video games adopting cinematic storytelling while films draw inspiration from gaming worlds. Both industries are also pushing technological limits, with tools like motion capture and AR reshaping how stories are told. From time to time, we dive into gaming here, not just for its tech, but for its artistic merit. While some still resist calling games “art,” I think the medium deserves more credit. Gaming environments are becoming so immersive that they’re not just observable but participatory. AR and VR blur the lines further, making players part of the story in ways film alone could never replicate. > "This reciprocal borrowing of ideas and stories has helped elevate both industries, creating a continuous loop of inspiration and adaptation." Are we ready to embrace video games as not just entertainment, but as a legitimate artistic frontier? [Read the original article →](https://newdigitalstorytelling.net/the-intersection-of-gaming-and-popular-culture/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-31) --- *ART & SCIENCE* --- ![MCAST Brings Science And Art Onboard The International Space Station](https://theintersect.art/content/images/2026/07/2024-11-25_11-33-33.jpg) ## MCAST Brings Science And Art Onboard The International Space Station The Malta College of Arts, Science & Technology (MCAST) is sending art and science into orbit. As detailed by **Lovin Malta**, their ASTROBEAT project, led by aerospace engineer and pianist Dr. Leonardo Barilaro, explores cold-welding for spacecraft hull repairs aboard the ISS. But here’s the twist: it pairs this research with live-streamed musical performances, featuring compositions by Barilaro and Grammy-nominated cellist Tina Guo. Honestly, I’m torn here. The science is practical—repairing micrometeoroid damage in space without a spacewalk is ingenious. But the connection to music feels... tenuous. Broadcasting "space-inspired" compositions into the void is poetic, sure, but does it really deepen either field? > “In Space there is space for everyone, literally and figuratively,” Barilaro says. His vision aims to make space relatable through art, but I can’t help wondering if the concept is more charming than impactful. Is this a true fusion of disciplines, or are we just rehearsing a duet where neither partner quite listens to the other? [Read the original article →](https://lovinmalta.com/lifestyle/technology/mcast-brings-science-and-art-onboard-the-international-space-station/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-31) --- *FUTURE TRENDS IN ART AND TECH* --- ![Canva predicts design will lean even more into analog aesthetics in 2025](https://theintersect.art/content/images/2026/07/2024-11-25_11-22-39.jpg) ## Canva predicts design will lean even more into analog aesthetics in 2025 Canva’s latest design trend report, highlighted by *Fast Company*, predicts 2025 will embrace a mix of high-tech and analog aesthetics. From motion graphics to handwritten elements, the data reveals a growing demand for playful, human-centered designs. Searches for terms like “scrapbook” and “silly” have surged, suggesting a collective craving for authenticity and escapism amidst AI’s rise. With over 170 million users, Canva’s insights reflect a broader cultural shift. I see this as part of a broader backlash against AI’s ubiquity. People are leaning into textures, imperfections, and anything that feels real. Even in SEO, personal anecdotes are more valued, as they verify a human voice. Video content, too, thrives because it’s harder to fake. > “Hand-drawn, analog, and organic elements with a human touch become points of differentiation,” notes *Fast Company*. Is this a passing trend, or are we witnessing a deeper cultural pivot toward the tangible? [Read the original article →](https://www.fastcompany.com/91232583/canva-trend-report-2025?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-31) --- *THE LAST WORD* --- Thanks for diving into these stories with me. Your engagement fuels this journey through the ever-evolving intersection of art and technology. If any thoughts or questions arise, I’d love to hear from you. Let’s keep exploring these fascinating narratives together. Warm regards, Juergen ### From Analog Roots to Digital Futures URL: https://theintersect.art/issues/30/ Last updated: 2026-07-14T17:14:13.000Z Hi everyone, In this edition, we’re embarking on a journey through the intersection of traditional artistry and cutting-edge technology. We highlight films that shine a light on Native American stories, demonstrating how technology can amplify voices that might otherwise be overlooked. There's also a thoughtful piece on how guided visualizations can be a powerful tool for artists to imagine and achieve success. We’ll explore how AI is revolutionizing interior design with platforms like Collov, offering personalized insights that blend creativity and technology seamlessly. And for those intrigued by nature’s design principles, we delve into biomimicry's role in creating sustainable architecture. Each story invites us to rethink how art and tech not only coexist but enhance each other, pushing creative boundaries. --- *FILM & VIDEO* --- ![7 Films Spotlighting Native American Artists and Stories](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e9da3029-ed60-4e89-9612-bf30a930f9ba.jpg) ## 7 Films Spotlighting Native American Artists and Stories Exploring the latest piece from All Arts spotlighting Native American artists in film, it’s clear that technology’s role in art is vast and varied. This article highlights the intersection of film and Native American artistry, a field rich with stories and perspectives that deserve our attention. As we curate "The Intersect," it's essential to acknowledge both emerging technologies and those established over the past decade. Our question about whether to focus solely on cutting-edge tools like AI is thought-provoking. "My take is that any tech, even 'old' film-making tech, is relevant for our curations. These technologies are the backbone of storytelling, bridging the traditional with the contemporary. > "We haven’t featured any film art in our newsletter recently, and also not any Native American Art. All of these films, of course, use 'Tech' in some ways." Should our focus widen to include traditional tech tools, or should we stay the course with only the latest tech trends? Your insights are welcome. [Read the original article →](https://www.allarts.org/2025/11/films-spotlighting-native-american-artists/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-30) --- *DEFINITELY NOT AI* --- ![Guided Visualization for Artistic Success](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a8bb830f-8981-4aa0-a804-fe8c60d4b806.jpg) ## Guided Visualization for Artistic Success Eric Maisel’s post, *Guided Visualization for Artistic Success*, presents a step-by-step process to center your creative energy and imagine your path to achievement. It’s a practical, calming exercise designed to help artists envision their success and reconnect with their creative purpose. Maisel credits ChatGPT for the visualization, which guides you through imagining your ideal creative space, witnessing your art’s impact, and overcoming doubts. Honestly, I enjoyed this process. Visualizing artistic success felt grounding, even energizing. I’m looking forward to trying it tomorrow while working on a new acoustic guitar composition. There’s something powerful about mapping out the creative journey in your mind—it can flip procrastination into anticipation. > “Mistakes feel like opportunities, and challenges excite you rather than deter you.” This line hit home. It’s a mindset I want to carry more intentionally into my work—letting the process itself feel rewarding. How often do we stop to imagine success as vividly as we imagine failure? [Read the original article →](https://ericmaisel.com/2024/11/21/guided-visualization-for-artistic-success/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-30) --- *DESIGN* --- ![Collov AI Search Offers Personalized Home Design Insights and Inspiration](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b5617288-ec13-4793-bde3-c2cd71cd57c4.jpg) ## Collov AI Search Offers Personalized Home Design Insights and Inspiration Collov AI Search is highlighted by Ellen Smith for its innovative approach to home design, leveraging AI to tailor recommendations to individual preferences. This AI-driven platform offers personalized insights and inspiration, making the home design process more intuitive and customized. The article from Trend Hunter emphasizes Collov's ability to transform how users engage with interior design by providing expert advice and fresh ideas, whether for a single room or an entire home makeover. Reflecting on my years of experience in marketing and search engine optimization (SEO), the advancement of AI search in platforms like Collov is both fascinating and a natural progression of the SEO practices I've honed. The intersection of digital strategy and creative design is becoming more seamless, offering new opportunities to personalize and enhance user experience in ways that were once imagined only in conceptual discussions. > "For about a decade, SEO was an interesting, creative, and somewhat lucrative practice that I honed. Now custom AI search is increasingly appearing in industry vertical applications." Can AI-driven tools like Collov redefine the future of a more creative form of SEO, merging art with technology in unprecedented ways? [Read the original article →](https://www.trendhunter.com/trends/collov-ai-search?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-30) --- *ARCHITECTURE* --- ![Nature-Inspired Resilience: Biomimicry in Generative Design](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_06833578-312d-4ebd-ba4e-662eef309aba.jpg) ## Nature-Inspired Resilience: Biomimicry in Generative Design Generative design, as highlighted in *Nature-Inspired Resilience: Biomimicry in Generative Design*, taps into nature’s resilience through biomimicry to create adaptable, sustainable structures. The article explains how computational algorithms mimic organic forms to optimize buildings for strength and harmony with ecosystems. I find this approach to be a refreshing shift from traditional design methods that often start with commercial materials. What excites me is how these algorithms could break free from templated materials and embrace techniques like 3D printing. If we can scale this and make it cost-efficient, we could see a real change in how we build here on Earth LOL. (We recently featured articles about 3D printing habitats in challenging environments like Mars.) > "Our design thinking often starts with what's available commercially. Biomimicry forces us to learn from nature's time-tested solutions, and that’s a perspective we desperately need." Could generative design be the key to rethinking how we create sustainable habitats in extreme environments? [Read the original article →](https://parametric-architecture.com/biomimicry-in-generative-design/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-30) --- *ART & SCIENCE* --- ![Rose Salane: Fission, or Eclipse at The Athenaeum at the University of Georgia, Athens](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_80879e23-5963-4cc9-b3b8-aa022b79d7aa.jpg) ## Rose Salane: Fission, or Eclipse at The Athenaeum at the University of Georgia, Athens Carlos Nunez’s review on *Burnaway* explores Rose Salane’s exhibition, *Fission or, Eclipse,* at the University of Georgia’s Athenaeum. The show weaves decommissioned traffic lenses, photograms, and historical documents into a meditation on material preservation and invisible data. Salane’s use of technology, like photogravures tied to a 19th-century eclipse and Einstein’s letters on atomic energy, bridges past and present, art and research. The University of Georgia holds a special place in my heart—it’s where I studied photography before heading to New York to experiment with special effects photography in the '80s. Salane’s work resonates deeply with me, especially her ability to pull narratives from technologies as seemingly mundane as traffic lights. > “The intersection of art and technology predates my experience, but exhibitions like this remind me how much creativity thrives in these connections.” How do objects—traffic lenses, cardboard boxes—hold such powerful stories about our shared history? [Read the original article →](https://burnaway.org/daily/fission-or-eclipse-at-the-athenaeum-athens/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-30) --- *CREATOR PLATFORMS AND TOOLS* --- ![This AI Image Generator that Went Viral for Its Realistic Images Gets a Major Upgrade](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_33b6f10b-e1fb-4b51-9c3d-dfd3ceaf06a6.jpg) ## This AI Image Generator that Went Viral for Its Realistic Images Gets a Major Upgrade Black Forest Labs’ recent announcement, covered by ZDNET, introduces FLUX.1 Tools—a suite of AI-powered image editing features that push the boundaries of creative control. These tools, including Fill, Depth, Canny, and Redux, let users modify and refine images with impressive precision, from inpainting to structural conditioning. They’re open-access and available via the FLUX.1 platform and API. The potential here is undeniable, even if it stirs up questions about unchecked AI use. I’ve been revisiting my photography roots, experimenting with AI tools to edit iPhone images. Enlarging, removing distractions, and even reshaping compositions to reflect the intent behind the shot—it’s been a fascinating process. Sure, it may raise eyebrows, but as someone who once built pinhole cameras from scratch, I think I’ve earned the right to push some boundaries myself. > "There’s something poetic about using AI to revisit and reinterpret the inspirations that sparked the original photograph in the first place." How do we reconcile creative experimentation with the ethical concerns these tools inevitably raise? [Read the original article →](https://www.zdnet.com/article/this-ai-image-generator-that-went-viral-for-its-realistic-images-gets-a-major-upgrade/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-30) --- *VIRTUAL AND AUGMENTED REALITY IN ART* --- ![Exploring the Benefits of Virtual Museum Tours](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7c7d6c7f-5486-41e2-b1b3-37ef4e1300c0.jpg) ## Exploring the Benefits of Virtual Museum Tours The article from Webobook explores the benefits of virtual museum tours, highlighting accessibility, education, and sustainability as key advantages. While I see the value in making art more accessible, I'm not sure I'm ready to embrace virtual museums just yet. What I crave more is a richer, more immersive experience in the actual museum space. > "Every museum I attend and visit leaves me yearning for better explanations, contextual stories, and narratives about what I’m seeing. In other words, a real, lived experience." Before we dive into virtual realms, I think museums need to better master augmented reality to enhance the physical experience. Imagine walking through an exhibit and having AR bring the backstories of the art to life right in front of you. Are we rushing into virtual too fast without improving the real-world experience first? [Read the original article →](https://webobookdceff34e0a.wordpress.com/2024/11/17/exploring-the-benefits-of-virtual-museum-tours/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-30) ![AR(t) Comes Alive at French Artist Aurélien Jeanney’s Latest Augmented Reality Exhibition](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_42ea6b33-5a40-48a1-92f9-d362b43227d3.jpg) ## AR(t) Comes Alive at French Artist Aurélien Jeanney’s Latest Augmented Reality Exhibition French artist Aurélien Jeanney’s *Looki Look* exhibition, as detailed in The Hindu by Nainu Oommen, blends augmented reality (AR) with playful, interactive art. On display at Alliance Française de Trivandrum until December 18, it invites visitors to scan posters with a custom app, uncovering hidden objects amidst geometric designs inspired by experiences ranging from Indian temples to French catacombs. This got me thinking: AR in art, while fascinating, feels like it’s been riding the same wave for a while now. Holding up your phone to engage with art—essentially turning your device into a digital viewfinder—feels a bit dated. > "With the pace of advancement in artificial intelligence over the last few years, it appears VR and AR art is ready for the next phase. Perhaps if smart glasses ever become powerful, lightweight, and widely adopted, those could be possibilities." Has AR art matured enough to become mainstream, or is it just waiting for its next leap forward? [Read the original article →](https://www.thehindu.com/entertainment/art/aur%C3%A9lien-jeanney-ar-exhibition-looki-look-in-india/article68896861.ece?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-30) --- *ART AND POLITICS* --- ![Congress Passes Bill That Gives Presidents the Power to Designate Art Nonprofits ‘Terrorist Organizations’](https://theintersect.art/content/images/2026/07/2024-11-22_16-53-10.jpg) ## Congress Passes Bill That Gives Presidents the Power to Designate Art Nonprofits ‘Terrorist Organizations’ On Thursday, the U.S. House passed H.R. 9495, as reported by *ArtNews*. The bill gives the Secretary of Treasury unchecked power to label nonprofits as “terrorist organizations” and revoke their tax-exempt status—no proof required, no evidence disclosed. Critics, including the ACLU, warn this could devastate arts nonprofits, which often promote dissenting voices and social justice. If passed by the Senate, it could silence some of the most vital cultural institutions in the country. First, they’ll come for the artists. It’s chilling to see arts nonprofits so openly targeted. These organizations preserve freedom of expression and challenge authority—precisely why they’re often the first in the crosshairs of authoritarian tactics. We’ve seen this playbook before, and it doesn’t end well. > “In any other context, this legislation would be seen for what it is, a play from the authoritarian leader’s playbook,” said Amnesty International's Paul O’Brien. What happens to creativity when dissent is treated like a crime? [Read the original article →](https://www.artnews.com/art-news/news/art-nonprofits-terrorist-organizations-bill-passes-house-1234724582/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-30) ![Prominent Artist In Hong Kong Sentenced To Six Years In Prison For “Subversion”](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f9a82807-75eb-462c-a3fb-a69135bf7d86.jpg) ## Prominent Artist In Hong Kong Sentenced To Six Years In Prison For “Subversion” A recent piece by *Artnet* highlights the sentencing of artist and former Hong Kong district council member Clarisse Yeung to six years in prison under the national security law. Yeung, known for her role in archiving art from the 2014 pro-democracy protests, is one of 45 figures convicted for participating in a 2020 unofficial primary election. Her case underscores Beijing’s tightening grip on dissent, as creative expression becomes entangled with political suppression. Can we imagine a society where artists in the U.S. face criminal charges for how their work is interpreted? Artistic expression thrives on challenging norms, but in such a future, creativity could become collateral damage in political conflicts. This isn’t just about artists—it’s about preserving spaces for dialogue and critique. > “Interpreting artwork is deeply subjective. What one sees as dissent, another may view as essential commentary. Penalizing artists risks arbitrary enforcement and undermines justice.” What happens to society when art, our mirror and catalyst for progress, is silenced? [Read the original article →](https://news.artnet.com/art-world/hong-kong-artist-sentenced-to-jail-2572008?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-30#new%5Ftab) --- *THE LAST WORD* --- Thank you for taking the time to explore these narratives with me. Your engagement and curiosity are what drive these conversations forward. If any of these stories spark a thought or question, I’d love to hear from you. Let’s continue to celebrate the rich dialogue between art and technology together. Warm regards, Juergen ### Old Meets New: Historic Artifacts in a Digital Age URL: https://theintersect.art/issues/29/ Last updated: 2026-07-14T17:14:40.000Z Hi all, In this edition, we're stepping into the fascinating overlap of art and technology, with stories that challenge our perceptions and inspire fresh thoughts. From the unexpected Grammy nod for an AI-assisted Beatles track to the intriguing survey revealing AI art haters unknowingly preferring AI creations, we've got a lineup that's set to spark curiosity. Plus, we'll explore the resurgence of clip art in the digital era and dive into the vibrant world of luminescent colorants reshaping artistic expression. Take a moment to immerse yourself in these stories, and perhaps find a new perspective on the intersection of the past and the future. Whether it's through the lens of history with AI photo restorations or the breathtaking VR experiences capturing the essence of the Kimberley region, there's plenty to ponder. Let's navigate these narratives together and see what insights we can uncover. --- *TECHNOLOGY IN MUSIC* --- ![AI-Assisted Song Restoration by The Beatles Is First of Its Kind to Be Nominated for A Grammy](https://theintersect.art/content/images/2026/07/2024-11-11_17-43-47.jpg) ## AI-Assisted Song Restoration by The Beatles Is First of Its Kind to Be Nominated for A Grammy The RouteNote Blog recently highlighted an AI-assisted Beatles track, *Now and Then*, earning Grammy nominations for Record of the Year and Best Rock Performance. This recognition comes decades after the band’s breakup, thanks to Paul McCartney’s use of AI-powered audio restoration to enhance John Lennon’s demo vocals from 1978\. While the article frames this as a groundbreaking AI achievement, there’s another side to the story. For me, this isn’t really about AI. It’s about audio restoration—a process that’s been evolving for decades. AI has made it more precise, sure, but the goal remains the same: improving the isolation of individual tracks while maintaining sound quality to preserve the essence of the original recordings. > “We’ve been using audio restoration tools for years—AI just makes them faster and more effective. It’s not magic; it’s progress.” So, what’s next? Could this bring new life to other archival recordings? [Read the original article →](https://routenote.com/blog/ai-assisted-beatles-song-grammy-nomination/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-29) --- *AI IN VISUAL ARTS* --- ![AI Art Haters Unknowingly Prefer AI-Generated Works, According to Test](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_bb74150e-d1da-4d7a-878a-2f24a435f36f.jpg) ## AI Art Haters Unknowingly Prefer AI-Generated Works, According to Test Over at *Boing Boing*, a recent piece highlighted a survey shared by *Astral Codex Ten*, where over 11,000 participants tried to distinguish between AI-generated and human-made art. The twist? Many self-proclaimed AI art haters ended up preferring AI-generated pieces. It’s an ironic revelation, and you can’t help but wonder what it says about our biases—and our ability to recognize creativity. Personally, I think these kinds of tests are a bit ridiculous. Sure, they’re entertaining, and the irony is hard to ignore, but do they really help us unpack the deeper issues? What I *do* hope is that this prods skeptics to ask better questions about AI’s role in art and challenges enthusiasts to examine their assumptions about what makes art “authentic.” > "When the judgment is blind, and AI fools even its harshest critics, the conversation shifts from 'Is this art?' to 'Why do we care so much who made it?'" So, is our attachment to authorship clouding our ability to appreciate the art itself? [Read the original article →](https://boingboing.net/2024/11/21/ai-art-haters-unknowingly-prefer-ai-generated-works-according-to-test.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-29) --- *PHOTOGRAPHY* --- ![How AI Technology Can Save Historical Photos](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_150cdbef-c2b3-4501-bb90-edac6c9e2c6c.jpg) ## How AI Technology Can Save Historical Photos NVIDIA's recent article on AI-powered photo restoration highlights how RTX technology is driving the preservation of historical photos. The piece from *Mashable* outlines how AI upscaling, especially with tools like Gigapixel AI and Adobe Photoshop, can breathe new life into old, low-resolution images, making them suitable for large format prints or digital archives. I’ve been experimenting with some of my own old photos of the World Trade Center from the late '90s and early 2000s. Back then, I used a Nikon 990—a cool camera but with limited resolution. In the past, I tried manually upscaling these images, but the results were mediocre at best. Now, with AI tools like Gigapixel AI, the difference is stunning. Noise reduction and artifact control are so much better, and it’s much easier to create prints that actually look good. > "This past weekend, I set myself some projects to enlarge and restore some of these original photos... the new AI programs allow for much greater sophistication and level of control." So, what’s on your hard drive that you’ve been meaning to restore? [Read the original article →](https://mashable.com/ad/article/ai-technology-preserving-historical-photos?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-29) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![More Proof that AI Images Are Becoming Modern-Day Clip Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_47409c6e-d41e-431a-b5b0-38861db98c59.jpg) ## More Proof that AI Images Are Becoming Modern-Day Clip Art Google’s recent announcement integrates AI-generated images into Docs via their Gemini model, as reported by Luke Larsen at *Digital Trends*. Users can now create custom visuals right inside their documents by simply describing what they need. While this sounds like a fun tool, I can’t help but feel like we’re stepping back into the late ‘90s clip art era. From my perspective, if a Google Doc needs images, they should be photos or handmade visuals that truly enhance the content. AI-generated “clip art”? I’m not convinced. These AI images need to be more than just filler—they must serve a purpose *and* look good. > “Really? Was it ever possible to use clip art ‘tastefully’? If we’re going down that road again, let’s hope this time it’s done with a bit more restraint.” So, what do you think—will AI-generated visuals actually improve our documents or just clutter them up again? [Read the original article →](https://www.digitaltrends.com/computing/google-docs-gemini-ai-images-becoming-clip-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-29) --- *DEFINITELY NOT AI* --- ![The Science and Seduction of Luminescent Colorants](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_6d0d66ac-1590-439e-bc36-8fa3d597eff6.jpg) ## The Science and Seduction of Luminescent Colorants Today’s artists have a whole new world of colorants at their disposal, and Michael Townsend explores this in his article, *The Science and Seduction of Luminescent Colorants* on Just Paint. He digs into the science behind fluorescent and phosphorescent materials—those vibrant pigments that seem to glow from within, shifting our perception of what "light" in art can mean. It’s a fascinating dive into how these pigments work, absorbing light we can’t see and transforming it into something visually striking. What’s intriguing to me is how these colors push the boundaries of how we understand light in art. We’re often stuck thinking about visible light, but these pigments remind us that there’s an entire spectrum beyond what we typically perceive. > "Luminescent paints are not for the recluse... fluorescents yield electrifying visuals supercharged with ultraviolet light." How do these colors change the way we experience art beyond the canvas? [Read the original article →](https://justpaint.org/the-science-of-how-fluorescent-and-phosphorescent-pigments-work/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-29) --- *ARCHITECTURE* --- ![Beaux-Arts to Bauhaus: How Two Schools Shaped Architectural Visualization](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a1f75714-698d-4581-b380-538b8c9df833.jpg) ## Beaux-Arts to Bauhaus: How Two Schools Shaped Architectural Visualization Niall Patrick Walsh’s article, *Beaux-Arts to Bauhaus: How Two Schools Shaped Architectural Visualization*, caught my eye this week. It explores how the École des Beaux-Arts in France and the Bauhaus in Germany continue to influence architectural visualization. Walsh highlights how each school’s distinct approach to design—Beaux-Arts’ elaborate, detailed renderings and Bauhaus' minimalist, functional visuals—still resonates in how we imagine and build spaces today. What fascinates me is how these styles are not just relics but active inspirations for modern tools like 3D CAD programs. The ornate detail of Beaux-Arts versus Bauhaus' geometric clarity both serve as touchstones for how we render future projects. > “Where the Beaux-Arts championed a grand, idealized vision of architecture, the Bauhaus advocated for a functional, objective approach grounded in modernity and technological advancements,” Walsh writes. It makes me wonder: How will today’s tools evolve to reflect the artistic values that have shaped us for centuries? [Read the original article →](https://archinect.com/features/article/150451144/beaux-arts-to-bauhaus-how-two-schools-shaped-architectural-visualization?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-29) --- *VIRTUAL AND AUGMENTED REALITY IN ART* --- ![WA Museum Boola Bardip to Show World-First Immersive Vr Documentary of Kimberley Region](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_517b915b-1e2f-4622-bfd5-90f9291c36ff.jpg) ## WA Museum Boola Bardip to Show World-First Immersive Vr Documentary of Kimberley Region The WA Museum Boola Bardip is debuting *The Great Kimberley Wilderness*, a 35-minute immersive VR documentary narrated by Luke Hemsworth. As reported by **PerthNow**, the film, created by award-winning filmmaker Briege Whitehead, uses 8K 3D footage, Dolby Atmos sound, and patented tech to deliver a “story-living” experience. Viewers are guided through the Kimberley’s breathtaking landscapes—ancient sites rarely seen outside their Traditional Owners’ care—all from a custom-built gallery with 360-degree projections. Exactly a year ago, my wife and I were in Australia, taking the Ghan train from Darwin to Adelaide. I still hold vivid memories of riding helicopters in sweltering heat, marveling at isolated landscapes, and learning about Aboriginal culture and art. This VR project seems to capture that same sense of awe—minus the 45-degree heat, thankfully. > “Everywhere you look, it’s like you’re literally standing there,” Whitehead says. “Or flying over waterfalls, with Luke next to you.” Will immersive VR like this become the new way we engage with remote art and history? [Read the original article →](https://www.perthnow.com.au/wa/wa-museum-boola-bardip-to-show-world-first-immersive-vr-documentary-of-kimberley-region-c-16762247?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-29) --- *EXHIBITIONS & EVENTS* --- ![Egypt’s Pyramids of Giza Are the Breathtaking Backdrop for a New Contemporary Art Installation](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ac794dd5-2b37-4d54-bc51-80632003c8ec.jpg) ## Egypt’s Pyramids of Giza Are the Breathtaking Backdrop for a New Contemporary Art Installation The recent *Artnet News* piece on "Forever Is Now" at the Pyramids of Giza is a perfect example of a fascinating juxtaposition—modern art set against one of the world’s most ancient backdrops. Curated by CulturVator and Art D’Egypte, the exhibition runs through November 18, and it brings together international artists whose works explore the overlap between past and present, history and contemporary creativity. What grabs me most is the visual tension this creates. Modern sculptures and digital works placed near the pyramids—these two worlds, thousands of years apart, collide in a way that’s both disorienting and beautiful. It’s a conversation between eras, where the pyramids become more than just ancient monuments—they become active participants in the present. > "A thing is what it is only in relation to what it is not." My photography professor used to say that, and it rings true here. The pyramids are more monumental when framed against something unfamiliar—like contemporary art. So, what happens when history is not just something we study, but something we actively interact with? [Read the original article →](https://news.artnet.com/art-world/egypts-pyramids-of-giza-contemporary-art-installation-2559025?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-29) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Over 2,000 Banksy, Warhol, and Picasso Forgeries Seized from Massive European Fraud Network](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_707aec37-28f1-4ca3-945d-c3528e118dbc.jpg) ## Over 2,000 Banksy, Warhol, and Picasso Forgeries Seized from Massive European Fraud Network In a recent piece by **Josie Thaddeus-Johns for Artsy**, authorities uncovered a massive forgery operation across Europe, seizing over 2,000 counterfeit works attributed to Banksy, Warhol, Picasso, and more. The forgers worked with auction houses to push these fakes, resulting in an estimated €200 million in potential losses. The bust highlights the ongoing issues with provenance and the importance of verifying authenticity, especially as fraudulent artworks infiltrate both physical galleries and online platforms. This resonates with me for several reasons. One of those fake workshops was based in Cortona, Tuscany, where I studied art. It’s incredible how modern forgery networks exploit both traditional art scenes and tech-driven sales platforms. And yet, AI-based tools today can authenticate art more effectively than many human experts. > "The presence of online catalogs by fake auction houses contributed to verification in sales through their complicity. Additionally, there is an importance placed on validation through trusted sources." How do we balance trust in traditional methods with the undeniable accuracy of technology today? [Read the original article →](https://www.artsy.net/article/artsy-editorial-2-000-banksy-warhol-picasso-forgeries-seized-massive-european-fraud-network?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-29) --- *FUTURE TRENDS IN ART AND TECH* --- ![How Might You Use AI In Museums?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_fff2abdc-37f8-4acd-ac5a-0ab8aaa56b62.jpg) ## How Might You Use AI In Museums? Artnet recently highlighted a report on AI in museums, stressing the need for sector-specific tools rather than relying on generic AI solutions from Big Tech. The study, part of the UK’s *Towards a National Collection* initiative, focuses on how AI can help museums address issues like decolonization by surfacing suppressed histories. But, as Professor Mick Grierson from the Creative Computing Institute points out, general-purpose AI models often fall short in areas like accurately identifying the race of subjects in artworks. I get the concern. You wouldn’t want an AI system mislabeling or oversimplifying something as complex as race, particularly when museums are tackling sensitive subjects. But it’s surprising that the study would reject the potential of machine learning for cataloging. Even if AI gets it wrong sometimes, there are still valuable data points to collect. > “There’s no commercial incentive \[for Big Tech\] to manage this issue, so it doesn’t get fixed. What you need is a public sector approach.” Are UK museums the only ones prioritizing this, or is this a growing trend globally? [Read the original article →](https://news.artnet.com/art-world/ai-in-museums-2563665?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-29) --- *THE LAST WORD* --- Thanks for journeying through these stories with me. Your engagement and enthusiasm bring life to these discussions, and I genuinely appreciate it. If any of these topics piqued your interest or raised questions, I’d love to hear your thoughts. Let’s keep this dialogue open as we explore the ever-evolving dance between art and technology. Warm regards, Juergen ### Don't We Belong to Nature? URL: https://theintersect.art/issues/28/ Last updated: 2026-08-10T15:27:53.000Z Hi everyone, This week, I've handpicked some thought-provoking pieces that explore the intersection of art, technology, and society. We start with Karl Ove Knausgaard's intriguing shift to science fiction, reflecting on the contrasting clarity found in science and the abstraction in art. There's also an insightful look at how Abu Dhabi's massive investment in the luxury art market affects everyday artists. Plus, you'll find an engaging discussion on the ethical use of AI in creative processes, highlighting both opportunities and challenges. I'm also excited to share stories about innovative educational methods that blend art with science, like using dance to explain complex concepts. Whether it's futuristic architectural designs for Mars or interactive art experiences with whisky, there's plenty to ponder about how these creative endeavors shape our world. Let's explore these captivating intersections together! --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Don’t We Belong to Nature?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3812c1f5-b9df-4212-a3da-5c66280d33b3.jpg) ## Don’t We Belong to Nature? Norwegian author Karl Ove Knausgaard, best known for his autobiographical series *My Struggle*, has made an unexpected pivot toward science fiction with *The Third Realm*. In an interview with *Nautilus*, Knausgaard reflects on how he once saw science as distant from life, but now believes scientists are the ones grappling with reality, while artists work with symbols and abstractions. This novel sounds like it would make a fantastic movie. I’m particularly intrigued by how Knausgaard contrasts the clarity that scientists seem to possess with the chaotic, self-constructed realities we often create. Watching TV interviews with scientists, I’ve always noticed how content they seem. Maybe it’s the concrete, tangible world they engage with that gives them a sense of clarity and purpose. > "In terms of creation, I don’t believe AI can replace anything. I mean, that’s the whole point of art and that’s the whole point of us—that presence we have. And you can’t engineer that." Do you ever feel like the world we construct through politics and media is far more confusing than it needs to be? [Read the original article →](https://nautil.us/dont-we-belong-to-nature-1090061?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-28) ![Artistic Collectives, Sustainability, and the Perpetual State of Emergency](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_4073abf5-f5de-41d9-aca8-7c34cc8ce7a3.jpg) ## Artistic Collectives, Sustainability, and the Perpetual State of Emergency iCoDaCo’s upcoming series, as covered by *Artistic Collectives, Sustainability, and the Perpetual State of Emergency*, focuses on a four-year project examining what sustainability means within artistic practice. Interestingly, the term "sustainability" here isn’t about going green. Instead, it’s about the longevity and viability of being an artist in today’s rapidly changing world. This caught my attention. While I’m intrigued by the concept, I often question how sustainable it really is to keep producing art when resources—both time and financial—are so scarce. The conversation often skims over the real pressures artists face to sustain their work. > "I wonder if this is a conversation about artistic endurance, or are we just glossing over the fact that many artists are struggling to survive in an increasingly competitive landscape?" How do we actually create sustainability in art without burning out or selling out? [Read the original article →](https://howlround.com/happenings/artistic-collectives-sustainability-and-perpetual-state-emergency?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-28) ![Why Abu Dhabi Is Shoveling Cash At Sotheby’s And Art Basel](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_92c1ba0a-84df-4258-b84f-6d8bf921438a.jpg) ## Why Abu Dhabi Is Shoveling Cash At Sotheby’s And Art Basel ARTnews recently highlighted Abu Dhabi’s $1 billion investment in Sotheby’s, a move that reflects the UAE’s ambition to establish itself as a global luxury brand. While this cash injection may help Sotheby’s pivot from an art auction house into a broader luxury entity, it raises questions about the disconnect between the high-end art market and the everyday realities of artists on the ground. I can’t help but wonder: what does this mean for those artists who lost studio spaces in Asheville due to floods? How does the luxury art market respond to their struggles? It feels like two entirely different worlds. Maybe I need to think of it as part of a larger, inclusive ecosystem that could support both luxury brands and independent artists. Still, it’s hard to balance. > "I intentionally did not include an article in this newsletter reporting on the fact that Sotheby's just sold a $1,500,000 piece of art that was made by an AI robot." Is there even space for meaningful dialogue between these extremes in the art world? [Read the original article →](https://www.artnews.com/art-news/news/sothebys-art-basel-abu-dhabi-1234723281/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-28) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![The Ethical Use of AI for Artists and Creative Entrepreneurs](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_536022a1-6c12-4a8c-bbbe-386294a1faa5.jpg) ## The Ethical Use of AI for Artists and Creative Entrepreneurs Cat Coquillette’s recent article tackles the ethical complexities of AI in the creative world. She shares her personal experiences on how she incorporates AI tools into her workflow while maintaining artistic integrity. What I found refreshing was her candid approach—she acknowledges the gray areas and offers practical insight into where AI can assist, and importantly, where it shouldn’t. For me, it’s always interesting when artists like Coquillette face the ethical dilemmas head-on and still find a way to make technology work for them without compromising their originality. > "AI Image generation can be a great tool for visual brainstorming. Notice how I didn’t say that it can be a great tool for *copying*." This raises an important question: As technology advances, how do we balance innovation with maintaining the soul of creativity? [Read the original article →](https://catcoq.com/blog/ethical-ai-for-artists?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-28) --- *INTERACTIVE ART* --- ![Immersive Scotch Whisky Journeys - The Macallan Celebrated 200 Years with a Multisensory Experience](https://theintersect.art/content/images/2026/07/2024-11-09_15-18-41.jpg) ## Immersive Scotch Whisky Journeys - The Macallan Celebrated 200 Years with a Multisensory Experience The article from TrendHunter highlights The Macallan’s 200-year celebration through a multisensory Scotch whisky experience, blending history with immersive tech to enhance the brand's storytelling. It’s an interesting approach, but it does raise the question: Do we need all this for whisky? I mean, isn’t drinking enough of an experience on its own? Still, I can see the appeal from a marketing perspective—creating a memorable sensory connection. When we visited Johnny Walker’s home recently, I saw firsthand how much effort goes into these experiences. The tasting rooms were fantastic, but it was the storytelling that really stood out. It’s more than just whisky; it’s about weaving a narrative that connects past to present, engaging all senses. > "At first glance, it might seem that a multisensory experience, when it comes to whiskey, is somewhat unnecessary. Don’t you just drink the stuff?" I’m curious—are these elaborate experiences the new standard for connecting with consumers, or just a passing trend? [Read the original article →](https://www.trendhunter.com/trends/macallan-celebrated-200-years?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-28) --- *ARCHITECTURE* --- ![Building the Red Planet: The Role of 3D Printing in Martian Habitat Design](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_6610627b-52dd-4e29-a311-626359a88e34.jpg) ## Building the Red Planet: The Role of 3D Printing in Martian Habitat Design The article "Building the Red Planet: The Role of 3D Printing in Martian Habitat Design" (originally featured in *Space.com*) explores how 3D printing could help create sustainable homes on Mars, adapting to environmental and social challenges. While the concept is undeniably futuristic, it also makes me wonder: Why aren't we using these methods more on Earth? My hunch is that we lean on cheaper, more available materials, which slows innovation in construction. > "Still, I think doing this at scale would require successes here on planet Earth, first and foremost. Perhaps, as my Republican friends might put it, an 'Earth First' approach?" If 3D printing can build homes on Mars, what’s stopping us from solving housing crises here with the same tech? [Read the original article →](https://parametric-architecture.com/3d-printing-in-martian-habitat-design/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-28) --- *DANCE* --- ![Explaining Science Through Dance](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a89bcec3-1813-4782-8389-9eee5617ad7f.jpg) ## Explaining Science Through Dance Researchers at UC San Diego found a creative way to explain topological insulators to high school students by combining science with art. According to *Science Advances*, Matthew Du and Joel Yuen-Zhou led the project, using dance to simulate the movement of light waves. The experiment aimed to make complex scientific concepts more accessible—and fun—for students at Orange Glen High School. I’ll admit, my math skills back in school were... not great. Science? I didn’t even get into that until much later. But I can see how something like this would have caught my attention back then. The idea that you could “dance” a scientific concept into understanding? I love it. It’s that perfect fusion of art and tech we keep talking about. > "We wanted to demystify these concepts in a way that was unconventional and fun," Du explained. "Hopefully, the students were able to see that science can be made understandable and enjoyable." So, what if more subjects were taught through art? Would it have changed how you saw them? [Read the original article →](https://today.ucsd.edu/story/science-through-dance?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-28) --- *CREATOR PLATFORMS AND TOOLS* --- !['Blendbox' Revolutionizes AI Art with Artist-Centric Control](https://theintersect.art/content/images/2026/07/2024-11-09_15-08-20.jpg) ## 'Blendbox' Revolutionizes AI Art with Artist-Centric Control The article on TrendHunter.com about the new "Blendbox" app caught my attention today. It presents a shift in AI art tools by giving more control back to the artists, moving away from the over-reliance on text prompts. This is something I’ve been waiting for—tools that allow more precise, artist-driven modifications. I personally won't use Blendbox, since to me it is still very much a 1st generation experimental tool, and the results still have that "AI Look". But what interests me about the idea around Blendbox though, is how it aligns with my own experience using AI-powered tools in photography. Being able to modify smaller portions of an image without the AI completely hallucinating or re-rendering the whole canvas is a step forward. Adobe's updates in Photoshop have been moving in this direction too, with more artist-centric adjustments that actually respect original compositions. > "AI is helping me focus on, alter, or enhance small portions of images that initially began as my photographs, without the unnecessary overhauls." So, what’s next? Will we finally get the tools that can merge artistic intuition with AI precision without compromise? [Read the original article →](https://www.trendhunter.com/trends/blendbox-revolutionizes-ai-art?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-28) --- *EXHIBITIONS & EVENTS* --- ![World’s First Robot and AI Museum Opens in Seoul](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c1d17a05-33b2-482a-a3c0-823c9a4c9182.jpg) ## World’s First Robot and AI Museum Opens in Seoul The World’s First Robot & AI Museum (RAIM) has opened in Seoul, designed by Melike Altınışık Architects. Jessica Stewart at *My Modern Met* reports that the spherical, futuristic building reflects the fluidity of AI and robotics, integrating smart technology into its very structure. From robot welding to laser CNC machining, the building itself is as much a part of the exhibition as the exhibits inside. But here's the thing—what exactly *is* on exhibition? It’s a stunning space, no doubt, and the architecture is impressive. However, the article doesn’t dive into what visitors will actually experience beyond the building itself. > "An interesting space for sure, though it does not mention what will be on exhibition there." So, is the museum more tech showcase than content-driven? I’m curious if this signals a trend where the building becomes the star instead of the exhibits. What do you think? [Read the original article →](https://mymodernmet.com/seoul-robot-ai-museum-melike-altinisik/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-28) --- *FUTURE TRENDS IN ART AND TECH* --- ![The Untethering](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a7705a77-91e4-48c1-a71d-67681510d108.jpg) ## The Untethering Ross Barkan's recent article, *The Untethering*, investigates the state of art, politics, and culture, exploring how the Trump presidency fueled a wave of performative radicalism in the arts. He questions whether another Trump victory would reignite that cultural shift or if we’ve moved on from the politics-driven art of the 2010s. Barkan points out how mainstream media often ignores the deep cultural implications of political shifts, focusing instead on policy and elections. I know this newsletter is about art and technology, but I couldn’t help reflecting on how political climates shape artistic expression. With Trump's win, might we see a resurgence of politically inflected art? But is that really where art thrives best? I’ve always felt art, much like religion, might just need to stand apart to truly flourish. > "Art can be propaganda, but it won’t be very good. And propaganda won’t be art." Will upcoming political narratives push artists back into the "resistance" mode, or will we see something entirely different emerge? [Read the original article →](https://rosselliotbarkan.com/p/the-untethering?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-28) --- *THE LAST WORD* --- Thanks for spending some time with these stories. Your interest in exploring the crossroads of art and technology is truly appreciated. I'd love to hear your thoughts or questions, so feel free to reach out. Let's keep this engaging conversation going and continue to discover the fascinating synergies at play. Warm regards, Juergen ### A Real Leap of Faith URL: https://theintersect.art/issues/27/ Last updated: 2026-08-10T15:27:52.000Z Hi everyone, In this edition of "The Intersect," I've hopefully managed to curate a fascinating mix of stories exploring the dynamic interaction between art and technology. We're getting into the ethical quandaries of early photography, pondering the future of art as AI challenges traditional creation methods, and even having a laugh with an AI tool that turns your selfies into humorous roasts. You'll also find a glimpse into how AI is reshaping art authentication and a look at Texas A&M's unique graduate programs that merge art with technology. Plus, there are exciting insights into how artists are pushing the boundaries of robotics, and how future design trends might balance AI's precision with the warmth of handcrafted artistry. --- *AI IN VISUAL ARTS* --- ![The Internet Was the Beginning of a New Folk Artist. Artificial Intelligence May Be Its End.](https://theintersect.art/content/images/2026/07/2024-11-04_15-20-38.jpg) ## The Internet Was the Beginning of a New Folk Artist. Artificial Intelligence May Be Its End. The article "The Internet Was the Beginning of a New Folk Artist. Artificial Intelligence May Be Its End." by ARTnews explores how generative AI is reshaping the landscape for content creators, drawing parallels with how the Industrial Revolution impacted folk artists. It’s striking that 65% of young people today identify as “creators,” signaling a shift in how we define and consume art. What’s fascinating to me is how these “creators” are essentially filling the cultural space once held by artists, and platforms like YouTube and TikTok are their galleries. Meanwhile, museums and traditional media are seeing fewer visitors, which makes me wonder: are we witnessing the next phase of art’s evolution? > "In the chase to satisfy the algorithm, the logical progression dictates that content be created en masse to test out the best performing." Will algorithms decide what art is, or can creators find ways to reclaim authenticity in an AI-driven world? [Read the original article →](https://www.artnews.com/art-news/news/the-internet-was-the-beginning-of-a-new-folk-artist-artificial-intelligence-may-be-its-end-1234722708/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-27) ![Instant Photo Roast Generators - Zinger Turns Your Photos into Funny Roasts for Online Sharing](https://theintersect.art/content/images/2026/07/2024-11-01_18-05-54.jpg) ## Instant Photo Roast Generators - Zinger Turns Your Photos into Funny Roasts for Online Sharing TrendHunter recently highlighted *Zinger*, a quirky tool that turns your photos into witty roasts. Upload an image, and within seconds, the AI spits out a roast layered with humor. It’s designed for those who want to inject some light-hearted fun into their digital interactions. Given the weight of the world lately, this feels like a breath of fresh air. I can’t help but laugh at this one. After the whirlwind of hurricane season down here in Florida and the constant political noise, we're in need of some humor relief — and something like Zinger feels perfectly timed. > "Let's please only use it on our own selfies, but the idea of letting an AI roast you feels like the kind of humor we all need right now." What do you think—would you let an AI roast your pics? [Read the original article →](https://www.trendhunter.com/trends/zinger?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-27) --- *PHOTOGRAPHY* --- ![Revisiting Early Photography: Ethics, Legal Constructs, and the Seligmans’ Legacy](https://theintersect.art/content/images/2026/07/2024-11-06_18-14-16.jpg) ## Revisiting Early Photography: Ethics, Legal Constructs, and the Seligmans’ Legacy Shalini Amerasinghe Ganendra’s article, *Revisiting Early Photography: Ethics, Legal Constructs, and the Seligmans’ Legacy*, takes us through the ethical dilemmas of early photography in anthropology, particularly regarding indigenous peoples. She explores how these images, intended for research, often perpetuated power imbalances and cultural misunderstandings. When we were in Australia a little less than a year ago, I saw something that stuck with me. There, it’s believed that once someone dies, any photos of them should be destroyed. Museums are grappling with this, trying to balance respect for indigenous beliefs with their role as cultural custodians. It’s not just about preserving history, it’s about respecting it too. > "There are many parallels in early colonial photography of indigenous peoples. It’s not just Australia—many cultures across the world are still processing the implications of being photographed without understanding the future consequences." How do we navigate preserving history while respecting the beliefs of those whose stories we tell? [Read the original article →](https://www.bl.uk/stories/blogs?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-27) ![Rocco Venezia](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8a63e199-0b67-4cbe-b923-6568758992f1.jpg) ## Rocco Venezia Rocco Venezia’s *Nocturnal Twins* project, featured on PHROOM, plays with the idea of a repopulated moon—an imaginary scenario that feels increasingly plausible as private entities like Elon Musk and Jeff Bezos make real-life plans for space colonization. The project blurs the line between fiction and fact, much like early moon landing conspiracy theories, but now with a distinctly modern twist. What I find fascinating is how this artwork pushes photography beyond its traditional role as a record of truth. Back in the sixties, photography was considered evidence, yet now we’re in a world where the moon landing hoax feels almost nostalgic. The artwork mirrors real-world proposals, creating an alternate reality that feels... oddly believable. > "The post-truth rise of conspiratorial thinking is something I intensely dislike. So, I guess that means this artwork is having its desired effect on me." Does this kind of work challenge your perception of what's real? [Read the original article →](https://phroomplatform.com/rocco-venezia/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-27) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- !['A Real Leap of Faith': Swiss Auction House to Offer Works Authenticated by AI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e51f463b-0a33-49ba-87be-32ee8f053531.jpg) ## 'A Real Leap of Faith': Swiss Auction House to Offer Works Authenticated by AI A recent piece from *The Art Newspaper* explores the decision by a Swiss auction house to offer AI-authenticated artworks. The works, by artists like Louise Bourgeois and Marianne von Werefkin, come with certificates from Art Recognition, a Swiss company using AI to verify authenticity. Some are skeptical, while others see it as a way to enhance credibility, as noted by auction house rep Fabio Sidler. The debate here is fascinating. On one side, there's this idea that trusting AI requires a "real leap of faith," especially in an area as subjective as art. On the other side, AI is being positioned as a tool to support, not replace, human expertise. > "It’s interesting to hear the different takes. One contingent suggests that it takes a real leap of faith for AI to ever evaluate an artwork's provenance. Others argue these are just tools to assist human assessors and make their work more reliable." Do you trust a machine's eye in a field driven so deeply by human intuition? [Read the original article →](https://www.theartnewspaper.com/2024/10/31/a-real-leap-of-faith-swiss-auction-house-to-offer-works-authenticated-by-ai?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-27) --- *EXHIBITIONS & EVENTS* --- ![The Living End: Painting and Other Technologies, 1970–2020](https://theintersect.art/content/images/2026/07/2024-11-04_15-16-50.jpg) ## The Living End: Painting and Other Technologies, 1970–2020 The Visualist’s article, *The Living End: Painting and Other Technologies, 1970–2020*, digs into the persistent idea that painting is dead—an idea critics have been toying with for decades. However, as the article highlights, artists have continually reinvigorated the medium, blending it with technology to keep it evolving over the last 50 years. Now, consider this: painting itself is a form of technology. It may not have a circuit board, but it’s a tool, a system, a way to process and represent ideas. When you think about it, every brushstroke is a kind of algorithm, a coded message waiting to be decoded through the viewer’s eye and mind. > "If you see painting as static, you’re missing the point. It's always been about process, iteration, and adaptation. Isn’t that essentially technology?" So, is painting just a relic of the past, or is it still a tech-driven art form at its core? [Read the original article →](https://thevisualist.org/2024/11/the-living-end-painting-and-other-technologies-1970-2020/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-27) ![Visions Of Nature: A Mixed Reality Experience At London’s Natural History Museum](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3f19fc96-dbf7-4ee0-bc62-b6236ea7e4e9.jpg) ## Visions Of Nature: A Mixed Reality Experience At London’s Natural History Museum The article by Forbes covers the Natural History Museum’s *Visions of Nature* experience, a mixed-reality exhibit that uses Microsoft’s Hololens 2 to immerse visitors in future ecosystems. Developed alongside the French studio Saola, the exhibit lets users interact with digital creatures, such as a whale hybrid or a crab entangled in plastic, while moving through the museum’s physical space. I haven’t spent much time with AR headsets beyond some cheap Google versions from a while back, but I can see how a vast museum space brings out the potential for these experiences. It’s a setting where you’re already primed for discovery—so why not augment it? > “As the experience starts, a large wild cat walks past and a tall tree appears in the corridor in front of you... With all of these, you can move close and examine the creatures in detail as you move around them.” Have any of you tried this? How did it stack up to other immersive exhibits you’ve seen? [Read the original article →](https://www.forbes.com/sites/bennyhareven/2024/10/31/visions-of-nature-a-mixed-reality-experience-at-londons-natural-history-museum/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-27) --- *TECH IN ART EDUCATION* --- ![Texas A&M’s Visualization Graduate Programs Merge Art and Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2e60ea9c-7a75-4686-bf75-1317f040375f.jpg) ## Texas A&M’s Visualization Graduate Programs Merge Art and Technology Texas A&M’s graduate programs in Visualization, as highlighted by the original article from [pvfa.tamu.edu](https://cur.at/rKECtnx?ref=theintersect.art), offer a unique blend of art and technology. Full funding is available for MFA students, and MS students have access to scholarships and assistantships. The programs emphasize areas like augmented reality, game design, and data visualization, preparing students to become leaders in both creative and technical fields. What I love about this program is how it reflects the core values of a liberal arts education. It’s not just about mastering a skill—it's about combining critical thinking with creativity to approach technology from a humanistic perspective. > "The Master of Science in Visualization integrates art and technology to prepare students to become creative and pragmatic leaders. The program fosters the development of focused expertise and a broad foundation of knowledge in the artistic, scientific, cognitive, and technical aspects of the discipline." Isn’t that exactly what art in tech—and tech in art—should be about? [Read the original article →](https://hyperallergic.com/texas-am-visualization-graduate-programs-merge-art-technology/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-27) --- *FUTURE TRENDS IN ART AND TECH* --- ![Design trends for 2025: creative leaders share their vision for the future](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c04e14a6-a538-4f05-8a14-835f4d03a26d.jpg) ## Design trends for 2025: creative leaders share their vision for the future The article from *Creative Boom* explores predictions for 2025, revealing how AI will shift from being a behind-the-scenes tool to driving final design outputs. Yet, with AI’s rise, we’re also seeing a counter-trend: a resurgence of physical, handcrafted experiences and human connection. Designers are pushing back against mass production, embracing craft and sustainability. Here's the thing: like my photography professor said, a thing only exists in relation to what it is not. AI's prevalence makes us value the imperfections of human touch even more. It’s no surprise that as AI generates flawless designs, we crave the warmth of craft, the tangible, and the personal. > "The faster technology moves, the more we'll see a counter-trend emerge: a return to handcrafted, human-centred design," predicts Kiser Barnes from Red Antler. So, the question is: as we speed towards an AI-driven future, how will you balance between the digital and the deeply human? [Read the original article →](https://www.creativeboom.com/insight/what-emerging-trends-will-be-big-in-2025-we-asked-creative-leaders-for-their-predictions/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-27) ![How Artists Improvise and Provoke Robotics](https://theintersect.art/content/images/2026/07/2024-11-01_18-15-43.jpg) ## How Artists Improvise and Provoke Robotics The piece by Steve Benford on arXiv explores how artists collaborate with roboticists, blending improvisation and provocation to challenge robotic research. Projects like Brendan Walker’s *Broncomatic* and *Blast Theory’s Cat Royale* illustrate how creative minds can push the boundaries of traditional robotics, often forcing researchers to rethink their methods in real-time. What I appreciate most is how these collaborations bring out something unexpected. As artists improvise with robotic technologies, they expose blind spots in the design process, encouraging researchers to adapt and evolve their work. > "Artists are skilled at improvising extended robot experiences that surface opportunities for technology-focused design, but which also require researchers to improvise their research processes." So, where does this leave us? These kinds of collaborations seem to ask: can we, too, rethink our relationship with technology when we allow creativity to disrupt the standard ways of working? [Read the original article →](https://arxiv.org/abs/2410.22462?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-27) --- *THE LAST WORD* --- I appreciate you taking the time to explore these topics with me. Your engagement is what makes these discussions meaningful. If any story caught your attention or made you think differently, I would love to hear from you. Let's keep exploring the fascinating intersection of art and technology together. Best, Juergen ### The City as Canvas, in Every Medium URL: https://theintersect.art/issues/26/ Last updated: 2026-08-10T15:27:51.000Z Hi all: This week, I've curated a selection of stories that illustrate the intricate dance between art and technology. We start with a poetic journey through urban photography, capturing rooftops and cityscapes that evoke personal narratives and memories. Then, we explore "The Data Poets," a platform where AI meets visuals to create poetry, sparking a conversation about the playful yet serious implications of AI in our creative spaces. You'll also find insights on how public art transforms cities, the tension between art and politics with Shepard Fairey's murals, and a look at Germany’s cultural debates over Bauhaus. In fashion, Moncler's collaboration with Lulu Li blends AI and design, while the gaming world continues to push the boundaries of creativity. And don't miss the revival of traditional Chinese dough sculpture through modern tech, or the fascinating incorporation of AI in dance choreography. --- *PUBLIC ART* --- ![Art Is Essential to Making Cities Liveable](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1672eafd-7baf-4abc-92c4-d384d834fdcc.jpg) ## Art Is Essential to Making Cities Liveable Charlotte Kilpatrick’s article in *Alliance Magazine* explores how art breathes life into cities, making spaces more livable through creative interventions. From floating circuses in Tunis to painted statues in Washington, D.C., the examples highlight how art transforms mundane cityscapes into vibrant, engaging environments that go beyond commerce and function. What really stood out to me was how Kilpatrick reminds us that not everyone sees the value in art. Some, like the American tourists she overheard, view artistic expression purely through the lens of market value. But this perspective misses the point entirely. Art’s role isn’t always about money. > "Cities without any source of artistic expression are not homes, but soulless shelters for spending the night and conducting commerce." Where do you see art in your city? Do you think it adds more than just decoration to your everyday spaces? [Read the original article →](https://www.alliancemagazine.org/blog/afield-poll-winner/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-26) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Shepard Fairey Murals of Kamala Harris Go up In Battleground States](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_25303f64-7157-4ddc-a0f7-fb5a3a836800.jpg) ## Shepard Fairey Murals of Kamala Harris Go up In Battleground States Shepard Fairey’s recent Kamala Harris mural in Durham, North Carolina, as reported by *The Art Newspaper*, is part of a larger push to drive voter engagement in battleground states. Collaborating with cultural organizer Wyatt Closs and local gallery owner Linda Shropshire, Fairey’s wheatpaste artwork echoes his signature style from the Obama era but now centers on Harris, framed by the slogan “Forward.” The effort blends art, activism, and politics in a very public way. As this newsletter is going live on election day, I find myself conflicted about this. Political art has always had its place, but when public art starts leaning into agitprop territory, I get uncomfortable, regardless of personal politics. Do we really want our urban spaces plastered with propaganda, no matter which side it’s on? > "I like when art raises questions. I like it less when it proposes the answers." Should art in public spaces nudge us toward a specific political action, or leave more room for interpretation? [Read the original article →](https://www.theartnewspaper.com/2024/10/24/shepard-fairey-murals-of-kamala-harris-go-up-in-battleground-states-as-early-voting-begins-in-us-presidential-election?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-26) --- *AI IN VISUAL ARTS* --- ![Image-To-Poetry Generators - The Data Poets Turns Images into Poetic Expressions](https://theintersect.art/content/images/2026/07/2024-10-29_16-41-23.jpg) ## Image-To-Poetry Generators - The Data Poets Turns Images into Poetic Expressions TrendHunter recently highlighted "The Data Poets," a platform that marries AI and creativity by generating poetry from images of urban locations. While platforms like this can feel playful, even whimsical, they also remind us of the larger conversation around AI’s growing role in artistic spaces. I find myself torn. On one hand, these experiments seem harmless, a kind of digital play. On the other, there's a deeper tension. The same AI that crafts poetry today might affect jobs tomorrow. It's hard to reconcile the fun with the looming societal impact. > "The more dire the predictions around the negative impacts of AI are, the stranger the juxtaposition to playful implementations becomes for me." So, where do we draw the line between creative exploration and more serious consequences? Does the playfulness of AI make its risks easier to ignore, or are we simply avoiding the real conversation? [Read the original article →](https://www.trendhunter.com/trends/the-data-poets?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-26) --- *PHOTOGRAPHY* --- ![Poetics in The Work of Three Urban Photographers: Love for The Chaotic City from The Site of Urban Rooftops](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1b379144-9c53-4b8c-94a3-4e7b71426e9c.jpg) ## Poetics in The Work of Three Urban Photographers: Love for The Chaotic City from The Site of Urban Rooftops The article from the Royal Geographical Society captures the essence of urban landscapes as seen from rooftops, exploring the intersection of architecture, space, and personal experience. As a former photographer, I resonate with this poetic vision. It takes me back to my days as a "starving artist" in Brooklyn, living in warehouses with stunning views of the Manhattan skyline. We cherished our rooftop gatherings in Greenpoint, Brooklyn, creating memories that intertwined with the cityscape. Reflecting on those times, I still have countless images that embody my connection to the urban environment, illustrating a personal narrative of the skyline. > "These images are fond memories that I cherish," reminding me of a unique relationship with the city. How do these cityscapes influence your perception of urban life, and what stories do they tell you? [Read the original article →](https://rgs-ibg.onlinelibrary.wiley.com/doi/10.1111/tran.12727?af=R&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-26) --- *DESIGN* --- ![Germany's Far Right Stirs up Culture War Over Bauhaus Legacy](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_aab3509c-4f16-434c-9ca3-0decd853afbc.jpg) ## Germany's Far Right Stirs up Culture War Over Bauhaus Legacy Thomas Escritt's article in Cyprus Mail discusses how Germany's far-right party, Alternative for Germany (AfD), is contesting the Bauhaus legacy. They claim that its international ethos undermines local traditions, a stance rejected by the Saxony-Anhalt parliament. This reflects the AfD’s strategy of using cultural issues for political leverage. Reflecting on this, as a former German citizen, I am disheartened by the politicization of art movements. The Bauhaus, a symbol of innovation, shouldn't be misused for political narratives. During my swearing-in as an American citizen in the early nineties, which coincidentally took place amidst the John Gotti trial in Brooklyn, I was struck by the power of narrative and identity. > "As a former German citizen, it saddens me to see the politicization of art movements and the rewriting of histories by far-right advocates." This trend of reclaiming cultural narratives is troubling. How do we protect the integrity of art in such a politically charged environment? [Read the original article →](https://cyprus-mail.com/2024/10/27/germanys-far-right-stirs-up-culture-war-over-bauhaus-legacy/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-26) --- *FASHION* --- ![Moncler and Lulu Li Transform AI Explorations Into Puffer Capsule Collection](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3dc71809-3b9f-41dc-be0a-db1ce2616a9f.jpg) ## Moncler and Lulu Li Transform AI Explorations Into Puffer Capsule Collection Moncler has teamed up with Chinese artist Lulu Li to release a new capsule collection, as reported by *designboom*. The collaboration, part of Moncler’s City of Genius project, merges fashion with AI-driven design. The collection features down jackets, vests, and layers described as being crafted "from bits to atoms," blending digital aesthetics with physical craftsmanship. It’s all presented in an immersive space with reflective, light-bending mirrors—very on-brand for Moncler’s futuristic style. It’s hard not to think of that viral AI-generated image of the Pope in a white puffer jacket from last year. What started as a joke on social media is now being turned into a serious design concept. > "Leave it to the Italians and their iconic sense of style to take that concept further." Is this the future of fashion, or are we just playing dress-up with algorithms? [Read the original article →](https://www.designboom.com/design/moncler-lulu-li-ai-puffer-capsule-collection-city-of-genius-10-28-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-26) --- *GAMING* --- ![Art in Games: How Video Games Inspire Creativity and Imagination](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_39625b4e-8b49-4a7d-b297-5a95c969d122.jpg) ## Art in Games: How Video Games Inspire Creativity and Imagination The article from *Customer Service Manager* explores how video games have evolved into complex art forms, blending storytelling, music, and design with interactive experiences. Titles like *The Legend of Zelda* and *Minecraft* demonstrate how these games inspire creativity in both players and developers, while also fostering educational and cultural connections. I have to admit, I haven’t played video games much in recent years. The violent nature of many games turned me off, and I found myself wishing for more options beyond the usual shoot-'em-up formats. Still, I can’t help but appreciate the incredible artistry behind these worlds. The open-world design, where you can explore and interact, is something I’ve always found compelling. > "I’m just hoping there would be more explorative aims than violent ones over time." Are we leaning too much on violence in game design? What would it look like if creativity became the primary goal? [Read the original article →](https://customerservicemanager.com/art-in-games-how-video-games-inspire-creativity-and-imagination/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-26) --- *SCULPTURE* --- ![Dough Sculpture: Chinese Youth Embrace Internet to Revitalize Traditional Culture](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7d83055a-960e-480d-bb42-ed25a53026a3.jpg) ## Dough Sculpture: Chinese Youth Embrace Internet to Revitalize Traditional Culture Lang Jiaziyu’s story, featured in an article by ECNS, grabbed my attention. She’s taken the traditional craft of dough sculpture—something I wasn’t entirely sure about myself—and brought it into the digital age. Using 3D scanning and social media, she’s managed to keep this art form not just alive, but thriving, with 2 million followers. What struck me here is how tech steps in to preserve something so physical and tactile. Dough sculpture, for example, is inherently fragile, yet with technology like 3D scanning, it gains a new kind of permanence and accessibility. > "I think it will become a very fragile thing if there is no modern technology to give it \[intangible cultural heritage\] a chance to let more modern people better understand and appreciate it," said Feng Ji, producer of *Black Myth: Wukong*. How many other art forms are waiting for their tech renaissance? [Read the original article →](http://www.ecns.cn/news/culture/2024-10-27/detail-iheiierq2785712.shtml?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-26) --- *DANCE* --- ![Small Step or A Giant Leap? What AI Means for The Dance World](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d1beadf1-2027-4c54-bc96-8f75fccb4e69.jpg) ## Small Step or A Giant Leap? What AI Means for The Dance World In a recent *Guardian* article, choreographers Aoi Nakamura and Esteban Lecoq explore dance’s relationship with AI through their new production, *Lilith.Aeon*. The AI entity Lilith performs on an LED cube, with the audience's movements triggering her choreography. While AI's influence has swept through film, music, and visual art, dance has remained somewhat resistant to this trend—until now. I find AI in choreography fascinating, but I’m not sure about having an AI-driven *performer*. It feels counterintuitive to a form so deeply rooted in the live human body. Yet, I can see the potential for AI to augment choreography, giving artists new tools to push creative boundaries without replacing the performer. > "There’s no jeopardy in the digital world,” says Wayne McGregor. “Human virtuosity and ingenuity is the thing that we connect to most of the time.” So, where does that leave us? Can AI ever match the magic of a live dancer pushing their limits? [Read the original article →](https://www.theguardian.com/stage/2024/oct/29/small-step-or-a-giant-leap-what-ai-means-for-the-dance-world?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-26) --- *EXHIBITIONS & EVENTS* --- ![Why Reykjavik is the Perfect City for MuseumNext 2025](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9fc5302e-a336-4952-9afc-4fe406d6331e.jpg) ## Why Reykjavik is the Perfect City for MuseumNext 2025 MuseumNext recently published an article exploring Reykjavik as the ideal host city for its 2025 conference, highlighting its unique blend of creativity and nature. They emphasize how the city’s rich history, combined with its forward-thinking approach to art and technology, makes it a perfect backdrop for an event that celebrates the intersection of these fields. When Robyn and I visited Norway and the Arctic Circle, we were struck by how deeply the local art reflects a connection to nature. Iceland, with its similar Nordic heritage and natural beauty, seems like an obvious next stop for us. Reykjavik’s museums and exhibitions are known for embodying that link between the environment and artistic expression—something we’re eager to experience firsthand. > "The Icelandic approach to art is rooted in an awareness of the natural world, making Reykjavik a city where creativity flows as freely as its geothermal energy." It makes me wonder—how will Iceland’s unique landscape shape the future of tech in art? [Read the original article →](https://www.museumnext.com/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-26) --- *THE LAST WORD* --- Thanks for joining me on this exploration of where art meets tech. Your interest and support make this journey worthwhile, and I’m eager to hear your thoughts on these stories. Feel free to reach out with any questions or insights you might have. Let’s keep this dialogue alive and continue discovering the vibrant intersections of creativity and technology together. Warm regards, Juergen ### Photography's Identity Crisis in the Age of AI URL: https://theintersect.art/issues/25/ Last updated: 2026-08-10T15:27:51.000Z Hi all, This week, I’ve curated more stories to explore the ever-evolving relationship between art and technology. From Imogen Heap's innovative use of AI in music to the resurgence of photography amidst the challenging backdrop of AI-generated images, there’s much to reflect on. We also touch on the ethical dilemmas surrounding AI's use of artists' works and explore how virtual art can offer a refreshing break from urban life. As always, I hope these stories spark your curiosity and creativity. --- *TECHNOLOGY IN MUSIC* --- ![AI.Mogen](https://theintersect.art/content/images/2026/07/imogen-heapdi.png) ## AI.Mogen Imogen Heap, as profiled by *Design Indaba*, is pushing the boundaries of how AI can collaborate with musicians. Her creation, "Mogen," a digital version of herself, allows fans to interact directly with the AI in a way that reflects Heap’s voice and personality. Through this, she’s opening up new ways for artists to connect with their audience while exploring AI’s creative potential. What’s interesting here is how Heap manages to blend AI-generated elements like harmonizing and remixing, without losing the human touch. The artist still maintains control, using AI to enhance rather than replace her creative process. > "Heap’s work with AI attempts to show us a path where the machine can co-create, but the artist remains in the driver’s seat. It’s supposed to be a partnership, not a takeover." How much control are musicians and artists willing to give up in exchange for the possibilities that AI offers? [Read the original article →](https://www.designindaba.com/articles/creative-work/aimogen?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-25) --- *PHOTOGRAPHY* --- ![Why Is The Art World Focusing On Photography Just As AI Images Are Becoming Harder To Detect?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1612274d-b189-40de-89e5-6a5556981efa.jpg) ## Why Is The Art World Focusing On Photography Just As AI Images Are Becoming Harder To Detect? As *The New York Times* recently pointed out, many major art dealers are turning their focus back to photography, even as AI-generated images become harder to distinguish from the real thing. Irving Penn’s work, for example, is getting a revival at Pace Gallery this fall, amidst a wave of photography shows across the U.S. It seems paradoxical, right? Just as we lose trust in images, we rediscover their importance. What’s fascinating here is how this shift taps into a deeper anxiety. If AI can generate an image we can't verify, photography—once seen as "truth"—now becomes a tool to question reality itself. > “The link between a photograph and the outside world broke very recently and I’m not sure we’ve really thought through the implications of that, culturally,” said the New York artist Trevor Paglen. So, where do we draw the line between authenticity and illusion? Or, more importantly, does it even matter anymore? [Read the original article →](https://www.nytimes.com/2024/10/25/arts/artificial-intelligence-photography-museums.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-25) ![AI Is Just One of The Thorny Issues Facing Photography – Here’s how The Industry Can Prioritise Ethics](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2eb53c97-4009-49e1-a751-29ae07711dd1.jpg) ## AI Is Just One of The Thorny Issues Facing Photography – Here’s how The Industry Can Prioritise Ethics The Conversation’s recent piece on photography ethics highlights how AI-generated imagery is complicating our already fraught relationship with photography’s role in truth-telling. The article draws interesting parallels between traditional photography and the growing use of AI, both of which are now dangerously close to altering our perception of reality. It’s fascinating to observe how this mirrors broader issues in media—both photography and news journalism are battling similar ethical dilemmas. The challenge to maintain integrity while embracing technological advances is ongoing, and it feels like we’re always one step behind in addressing these concerns. > As photographer Kirsty Mackay puts it: “What we see, quite often, is middle-class photographers making a story about working-class people... really for themselves, and for their own ego, and to elevate their status.” The question is, how do we balance innovation with ethical responsibility in an industry where the lines between real and fabricated are increasingly blurred? [Read the original article →](https://theconversation.com/ai-is-just-one-of-the-thorny-issues-facing-photography-heres-how-the-industry-can-prioritise-ethics-241148?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-25) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![25K+ Artists Decry “Unlicensed Use of Creative Works” to Train AI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f165bd5f-188d-4571-b40f-fd392540a74f.jpg) ## 25K+ Artists Decry “Unlicensed Use of Creative Works” to Train AI Over 25,000 artists and creatives, including Amoako Boafo, Cecilia Vicuña, and Lynn Goldsmith, have signed a petition against the unlicensed use of their work to train AI, as reported by *Hyperallergic*. The petition, led by composer Ed Newton-Rex, highlights a major concern: the exploitation of creative work without permission or compensation. Newton-Rex argues that AI companies are profiting from artists’ life’s work under dubious “fair use” claims. At the heart of this issue is a clash of perspectives. Artists are seeing their livelihoods threatened, while AI companies claim their methods are within legal limits. But does scraping the internet for creative content equate to a human learning from what they encounter online? > “AI companies are building their products by ingesting the life’s work of creatives, without payment and without permission,” says Newton-Rex. How do we draw the line between inspiration and exploitation in the digital age? [Read the original article →](https://hyperallergic.com/25k-artists-decry-unlicensed-use-of-creative-works-to-train-ai/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-25) --- *DEFINITELY NOT AI* --- ![Watercolours of Industrial Landscapes – Grey, Grimy but Gorgeous](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5df5118f-19a6-41c0-a6ad-cedf6202eaaf.jpg) ## Watercolours of Industrial Landscapes – Grey, Grimy but Gorgeous The V&A Blog explores an intriguing collection of watercolors that depict industrial landscapes—factories, quarries, and canals—painted in the 19th and early 20th centuries. The article presents these works as equally captivating as the traditional nature scenes we often associate with watercolors. What strikes me here is the unexpected use of watercolors to document industrialization. When you think of watercolors, you probably imagine tranquil countryside scenes, not grimy factories. Yet, that’s what makes these pieces so fascinating. I love the contrast between the soft, delicate quality of the medium and the harsh, mechanical subjects it portrays. It’s a perfect tension. > "These works are gorgeous, and I love the idea of using watercolors for them because it is so counterintuitive. The depiction of machinery and factories using watercolors creates a super interesting juxtaposition from my point of view." Would you ever think of using watercolors to capture a factory’s beauty? [Read the original article →](https://www.vam.ac.uk/blog/museum-life/watercolours-of-industrial-landscapes-grey-grimy-but-gorgeous?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-25) --- *Q+ART & PODCAST INTERVIEWS* --- ![Resilience in Asheville's River Arts District After Hurricane Helene](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_0eeda4e6-01d0-4a24-ba66-97f90c730464.jpg) ## Resilience in Asheville's River Arts District After Hurricane Helene In a recent piece from Artsville, the aftermath of Hurricane Helene on Asheville's River Arts District is laid bare, revealing significant destruction that affected both the environment and the artist community. With an estimated 80% of the district’s structures damaged, the impact on local artists is profound, leaving many scrambling to rebuild their lives and workspaces. Given the short attention span and rapid news cycles today, we think it’s vital to keep the stories of these artists alive, long after the headlines fade. Our creative communities deserve ongoing support and visibility, especially during such trying times. > "At Artsville, we are determined to keep the plight of affected artists front and center." How can we collectively ensure that the voices of these artists are not lost in the shuffle of fleeting news? [Read the original article →](https://www.artsvilleusa.com/ashevilles-river-arts-district-after-hurricane-helene/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-25) --- *SCULPTURE* --- ![DRIFT Sparks a Coded Connection to Nature in Paris](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_fb156593-1eeb-4440-b160-be4629607fe6.jpg) ## DRIFT Sparks a Coded Connection to Nature in Paris DRIFT’s latest project, featured in *Whitewall*, continues their exploration of nature through digital art, this time for Whitewall Projects’ debut in Paris. The Amsterdam-based collective has always amazed me with how they blend technology with organic forms, and this new installation is no exception. It’s fascinating how much these urban artists focus on nature, especially given their environment. I’ve written before about how DRIFT reflects a longing for nature, despite being surrounded by concrete. Maybe it’s because, as my old photography professor Wiley Sanderson used to say, “A thing is what it is only in relationship to what it is not.” Urban dwellers, more than most, seem to feel this tension between the built world and the natural one. > "Perhaps people in urban environments are, in a way, more equipped to appreciate our connection to the natural world and less likely to take that for granted." Do you think those of us surrounded by tech feel a deeper need to reconnect with nature? [Read the original article →](https://whitewall.art/art/drift-sparks-a-coded-connection-to-nature-in-paris/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-25) --- *SUSTAINABILITY IN ART AND TECH* --- ![The Impact of Virtual Immersive Public Art on the Restorative Experience of Urban Residents](https://theintersect.art/content/images/2026/07/B907BC77-2D7C-451C-95CC-00DBB33225E2_1_105_c.jpg) ## The Impact of Virtual Immersive Public Art on the Restorative Experience of Urban Residents A recent study from the journal *Sustainability* explores how virtual immersive public art can enhance the mental well-being of urban residents. By focusing on interactive themes, sensory engagement, and artistic characteristics, the study suggests that these installations offer a psychological reprieve similar to natural environments. The research emphasizes that virtual art can serve as a restorative experience, much like a walk in the park but in a digital space. What intrigues me here is the idea that virtual art could offer the same mental benefits as nature. Yes, these installations can be visually and interactively captivating, but can they really substitute for the calming effects of a natural landscape? It’s an exciting exploration but also one that raises questions about the depth of connection we can achieve through digital means. > "I’m curious: can a virtual flower bloom in the mind the same way a real one can?" Could immersive art be the solution to urban stress, or are we missing something deeper in the process? [Read the original article →](https://www.mdpi.com/2071-1050/16/21/9292?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-25) --- *EXHIBITIONS & EVENTS* --- ![Ancient Wisdom For A Future Ecology: Trees, Time & Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_720c4832-23c5-4803-9ee5-4dba478caa1f.jpg) ## Ancient Wisdom For A Future Ecology: Trees, Time & Technology Tiffany Shlain and Ken Goldberg’s latest exhibition, *Ancient Wisdom for a Future Ecology*, reviewed by Lita Barrie for *Whitehot Magazine*, challenges conventional narratives through the lens of dendrochronology—tree-ring dating. The show at the Skirball Cultural Center examines the intersection of trees, history, and technology, using reclaimed wood sculptures to question the objectivity of historical timelines. One standout, Shlain’s *Dendrofemonology: A Feminist History Tree Ring*, reframes history with a feminist perspective, underscoring the subjectivity of so-called "facts" and integrating AI to consider more inclusive interpretations. When I reflect on their work, I’m struck by how trees, these organic data-keepers, provoke us to reconsider the stories we’ve been told. *Dendrofemonology* offers a powerful reminder that history isn't just one story—it’s many, shaped by those who tell it. > "Progress doesn't always work in one direction," Shlain remarked, questioning the assumed linearity of history. What narratives could we rewrite if we embraced this more fluid understanding of the past? [Read the original article →](https://whitehotmagazine.com/articles/skirball-culture-center-los-angeles/6615?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-25) --- *FUTURE TRENDS IN ART AND TECH* --- ![The Art Market Is on the Brink of Major Upheaval](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_78b09d0a-0bc9-40b2-974d-94dc523e5865.jpg) ## The Art Market Is on the Brink of Major Upheaval Bloomberg recently highlighted a shift in the art market, with high net worth individuals reducing their art investments from 24% of their wealth in 2022 to just 15% in 2024\. Clare McAndrew’s research shows a growing focus on the base of the market, with more affordable transactions gaining traction, while high-end blue-chip sales decline. This could be seen as both a challenge and an opportunity for young artists. On one hand, affordable works like those on paper are gaining attention, opening doors for emerging talent. But there's a flip side: lower price points often mean reduced earnings, and artists might feel pressured to create work that fits market trends rather than their true vision. > "Young artists need to navigate these trends carefully to ensure that their creative integrity and financial viability are not compromised in the long run." How do you balance financial survival with staying true to your artistic voice? [Read the original article →](https://www.thinkadvisor.com/2024/10/24/the-art-market-is-on-the-brink-of-major-upheaval/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-25) --- *THE LAST WORD* --- Thanks for joining me on this exploration of art and technology's crossroads. Your engagement and thoughts are what keep this conversation vibrant and meaningful. If anything piqued your interest or raised questions, I’d love to hear from you. Let’s continue to uncover and discuss the rich intersections of our creative and technological worlds. ### Where Did Our Old Photos Go? URL: https://theintersect.art/issues/24/ Last updated: 2026-08-10T15:27:06.000Z Hi all, In this edition, we're taking a trip down memory lane with a look at our forgotten digital photos from 2004, and exploring how virtual reality isn't just about new worlds, but about understanding our own emotions. We've got a thought-provoking piece on how art can be a refuge in times of chaos, as well as a critical look at recent protests in the art world and their impact—or lack thereof. We'll also examine how digital art is reshaping creativity and question the idea of democratization in this space. And for a bit of tech flair, you'll learn about how MoMA masterpieces are now gracing living rooms via Samsung’s Frame TV. These stories, and more, are here to spark conversation and reflection on how technology intertwines with our artistic lives. --- *ART AND SPATIAL COMPUTING* --- ![What Can We Expect from Art in Virtual Reality?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7baf3f73-6777-4ad0-8ab7-3478e573ae61.jpg) ## What Can We Expect from Art in Virtual Reality? Celine Daemen’s recent interview, featured in *Domus*, offers fascinating insight into how virtual reality (VR) can evoke deep emotional responses. Daemen, who comes from a theater background, emphasizes the power of immersion in VR as a way for audiences to engage with their own emotions and memories, particularly in liminal spaces that reflect human experiences. It's an interesting concept, the idea that VR can mirror reality not by mimicking it, but by triggering associations—especially around grief or loss. The body’s presence in these virtual spaces gives us a new way to process real-world emotions. This connection between virtual and real, where immersion helps us untangle personal experiences, is something that traditional mediums just can’t replicate. > "It’s not as much as experiencing a story, but it’s experiencing spaces," says Daemen. "VR brings about your own fears or desires." How do we better use VR to confront, understand, or even heal our emotional landscapes? [Read the original article →](https://www.domusweb.it/en/art/2024/10/03/virtual-reality-art-conversation-with-celine-daemen.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-24) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![How Art Changed Visual and Performance Artist Ed Woodham](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ea498aa1-6443-426b-94af-57b5d36b534f.jpg) ## How Art Changed Visual and Performance Artist Ed Woodham Ed Woodham's journey, as shared in a recent piece by ALL ARTS, reveals art's profound impact on personal transformation. Woodham, founder of Art in Odd Places, views art as a sanctuary amidst life's chaos. His story resonates deeply, reminding me of how music, particularly playing acoustic ambient instrumental guitar, serves as my own therapeutic "life raft." In Woodham's words, > "Art was a life raft amongst a barrage of trauma, a shield to deflect degradations." His experiences underline the power of creative expression, providing agency and resilience against life's challenges. Reflecting on this, I see parallels in my own life, where music facilitates healing and growth. It prompts me to ask: How can we further integrate these artistic refuges into our daily lives to foster resilience and connection? [Read the original article →](https://www.allarts.org/2024/10/how-art-changed-ed-woodham/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-24) ![UK’s National Gallery Bans Liquids After Climate and Gaza Protests](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_494d05ea-77af-44b6-bfb1-cb42d09132b3.jpg) ## UK’s National Gallery Bans Liquids After Climate and Gaza Protests The National Gallery in London just banned liquids after two protests last month targeted artworks, including a van Gogh painting, as reported by *Hyperallergic*. The recent actions — environmental activists “souping” the paintings and pro-Palestinian activists pasting a photo on a Picasso — didn’t damage the artwork, but they’ve forced the museum to tighten security. Now, visitors can expect longer wait times and stricter bag checks as the museum tries to prevent further incidents. I’m not entirely sure what these protests are accomplishing aside from drawing attention to issues that deserve focus, but the connection to these old masterpieces feels tenuous at best. When it comes to activism, I’d hope for actions that are more relevant to the cause rather than randomly targeting cultural works. > “Throwing soup on a van Gogh doesn’t make me think about climate change or international conflicts. It just makes me cringe at the thought of damaged art.” Do you think this kind of protest is effective, or just a distraction? [Read the original article →](https://hyperallergic.com/uk-national-gallery-bans-liquids-after-climate-and-gaza-protests/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-24) ![Digital Art Is Redefining Creativity](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3df6fb01-6364-4307-afba-e5eb02e27164.jpg) ## Digital Art Is Redefining Creativity Jennifer Roebuck’s article on *City A.M.*, “Digital art is redefining creativity,” highlights how immersive digital art breaks the boundaries of physical space, enabling creators and audiences to engage with art in new ways. Roebuck captures the excitement of this shift, but I feel there’s a conversation missing around the term “democratization” often thrown around in these discussions. While digital art does indeed make artistic expression more accessible, we need to be cautious with the idea that it levels the playing field completely. Access to technology, reliable internet, and digital literacy still vary greatly across regions and communities. So, while the reach is expanded, not everyone can fully participate. > "The notion that digital art automatically democratizes creativity overlooks the reality of tech disparities. It’s more complex than just removing geographical barriers." It’s worth asking: Who really gets to benefit from this “democratization” of art, and who might still be left behind? [Read the original article →](https://www.cityam.com/digital-art-is-redefining-creativity/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-24) --- *PHOTOGRAPHY* --- ![Where Did Our 2004 Photos Go?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ec3f9660-b963-47a9-8979-8eb62ec7abbb.jpg) ## Where Did Our 2004 Photos Go? Barbara Krasnoff’s piece on *The Verge* got me thinking about my own digital archives. She talks about the "missing" photos from 2004, a time when many of us were caught between film and digital, and it struck a chord. I’ve noticed something similar myself. These days, all my more recent photos are neatly synced across the Apple ecosystem, but the thousands of pre-2004 DSLR shots? They’re buried in folders, hard drives, or maybe even old iPhoto libraries. I had a friend ask for a photo from that era recently, and I found myself connecting an old RAID system just to get to it. Funny thing is, now I can just ask Siri for a photo from last week, and it pops up instantly. > “The fact that you could take a lot more pictures without incurring costs meant that you were tempted to do that... which became next month, which became never,” Krasnoff writes. That sounds about right. Have you tried tracking down your old digital photos? Where do you keep them? [Read the original article →](https://www.theverge.com/c/24220118/lost-photos-facebook-flickr-digital-cameras?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-24) --- *DESIGN* --- ![MoMA Masterpieces Come to Samsung’s The Frame TV](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_759d70f8-ccc3-4d07-9fa9-fd8a3633d7ba.jpg) ## MoMA Masterpieces Come to Samsung’s The Frame TV Samsung’s Frame TV, as highlighted by *Geeky Gadgets*, offers a way to display MoMA’s iconic artworks right in your living room. The TV transforms into a digital canvas when it’s off, showing pieces from artists like Frida Kahlo and Georgia O’Keeffe, all in crisp 4K. It’s an interesting blend of tech and art, but let’s be honest—why does this need a specific TV? This could easily be an app on any high-resolution TV out there. "The Frame is just that—a frame around a TV. The artwork could display on any high-resolution television of the modern era." And yet, it’s marketed as if this experience is only possible on Samsung’s devices. Why aren’t Google TV or Apple TV jumping on this opportunity to make digital art more accessible to everyone? Shouldn’t art be less about the hardware and more about the experience? [Read the original article →](https://www.geeky-gadgets.com/moma-masterpieces-come-to-samsungs-the-frame-tv/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-24) ![The Best PST Art-Science Shows Work Against Today’s Obsession with “Innovation”](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9f743ecc-f746-4136-9c6f-27d78e55c21a.jpg) ## The Best PST Art-Science Shows Work Against Today’s Obsession with “Innovation” The recent article from *ArtNews* highlights how the Getty’s PST ART initiative connects the dots between art and science in unexpected, sometimes nostalgic ways. From AI divination to machinima, these exhibitions challenge the idea that technology must always point forward, exploring how it can also pull us back to our roots. For me, the most compelling part of PST ART is how it manages to sidestep the current obsession with “innovation.” It’s not about the next big thing. Instead, artists like Mashinka Firunts Hakopian and Stephanie Dinkins use technology to bridge past and present, blending ancestral traditions with AI in ways that feel refreshingly human. > "Art and science don’t *collide*," as Michael J. Masucci puts it, “they make love.” This isn’t about a violent clash—it’s about the nuanced, creative partnerships that emerge when these two fields meet. How much are we missing in our rush to innovate without looking back? [Read the original article →](https://www.artnews.com/art-in-america/aia-reviews/pst-best-shows-innovation-redcat-1234721317/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-24) --- *ART & SCIENCE* --- ![Doctors Can Now Prescribe Culture Through Mass. 'art Pharmacy' Program](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e7d1ad27-5356-4ead-b12d-fccbbaa13133.jpg) ## Doctors Can Now Prescribe Culture Through Mass. 'art Pharmacy' Program Massachusetts is leading a new initiative where doctors can prescribe cultural activities, according to Lindsay Shachnow for Boston.com. This effort, in collaboration with Mass Cultural Council and Art Pharmacy, integrates arts into healthcare, offering a fresh perspective on patient treatment. Although it doesn't involve technology, the intersection of art and medicine is compelling in its own right. I find this blend of art and healthcare intriguing, though I'm still contemplating its full impact. It introduces creative experiences into the medical field, a concept that challenges traditional healthcare practices. Picture a prescription that includes a visit to a theater or an art class—it's a novel approach that could redefine patient care. > "Health service workers felt like they were giving out Willy Wonka golden tickets," shared Michael Bobbitt, reflecting the excitement within the medical community. Might this initiative pave the way for new creative integrations in healthcare? [Read the original article →](https://www.boston.com/news/health/2024/09/11/doctors-can-now-prescribe-culture-through-mass-art-pharmacy-program/?ref=thefuturist&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-24) ![With Real Scientific Data, Artist Martin Vargic Has Visualized Hundreds of Alien Planets](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ead3f706-0145-4fc5-80b0-220c5f4daad9.jpg) ## With Real Scientific Data, Artist Martin Vargic Has Visualized Hundreds of Alien Planets Artist Martin Vargic’s stunning visualizations of exoplanets were recently featured in *Space.com*, showcasing his intricate artistic interpretations of distant worlds orbiting stars beyond our solar system. It’s fascinating to remember that, until the 1990s, scientists didn’t even know if planets existed around other stars. Vargic’s artwork brings these mysterious celestial bodies to life in a way that numbers and data alone simply can’t. I have to admit, I never knew the origin of the word "exoplanet," which refers to the discovery of planets around other stars outside of our solar system. Be that as it may, and my ignorance about that aside, this collection of astronomical artwork is just fantastic. Vargic’s ability to inject color and texture into objects we’ve never seen before is impressive. > "We have no way to determine how different exoplanets really look in detail yet, and this makes them a rich space for creativity," Vargic explains. Isn’t it strange how art can give form to something we’ve never seen, but still feels oddly familiar? [Read the original article →](https://www.space.com/exoplanet-art-martin-vargic-interview?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-24) --- *CREATOR PLATFORMS AND TOOLS* --- ![Adobe Max 2024: All the Major Announcements Around Design and AI](https://theintersect.art/content/images/2026/07/img-8ocmYdWF3YscRJi5nioyPMfw.jpg) ## Adobe Max 2024: All the Major Announcements Around Design and AI Adobe’s latest announcements at its 2024 MAX event, covered by Jess Weatherbed for *The Verge*, showcase a wave of AI tools integrated across its Creative Cloud suite. From Photoshop’s distraction removal to Premiere Pro’s generative video model, Adobe is clearly positioning itself at the forefront of generative AI, even beating competitors like OpenAI’s Sora and Google’s Veo to the punch. But honestly, I’m beginning to wonder if it’s all getting a little overwhelming. The sheer volume of AI tools in everything Adobe touches makes it increasingly hard to distinguish between user-driven creativity and AI-assisted production. It’s like we’re outsourcing more and more of the creative process, and I’m not sure how I feel about that. > "It’s becoming difficult to separate digital tools that we all use from generative tools that basically involve AI in the content creation in the first place." Do these AI features really help, or are they making us more passive in our own creative work? [Read the original article →](https://www.theverge.com/2024/10/14/24269859/adobe-max-2024-major-announcements-stream?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-24) --- *THE LAST WORD* --- Thanks for joining me in exploring these unique stories. Your curiosity and engagement mean a lot, and I hope these pieces resonate with you as much as they did with me. If you have any thoughts or insights, don't hesitate to share—I’d love to hear your perspective. Let's keep this dialogue going and continue to celebrate the beautiful interplay of art and technology. Best, Juergen ### Has Technology Made This Better, or Just Different? URL: https://theintersect.art/issues/23/ Last updated: 2026-08-10T15:27:50.000Z Hi all, This week, we're tackling some intriguing topics at the intersection of art and technology. We begin with Billy Corgan's sharp critique on music software and its real effect on creativity—a conversation that echoes the early debates around digital photography. Next, we explore Durham Cathedral's immersive light show, where ancient architecture meets modern storytelling through light and sound. You'll also discover Douglas McLennan's insights on tracking art participation in today's digital landscape, alongside a controversial AI-generated art review that raises questions about legacy and authenticity. Plus, we'll look at the role of virtual architecture in modern design and how artists have long drawn inspiration from the natural beauty of trees. These stories, along with a peek into Cairo Urban Week and the shifting art market, reveal the dynamic ways art and technology influence each other. --- *TECHNOLOGY IN MUSIC* --- ![Has Music Software Made Music Worse?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_66fe60d4-3f59-47f1-be99-a3aca0312979.jpg) ## Has Music Software Made Music Worse? Billy Corgan of The Smashing Pumpkins recently voiced his concerns about music software in an interview with *Goldmine Magazine*, criticizing tools like Pro Tools for making music “worse” by allowing less skilled musicians to sound professional. He argues that these tools have “leveled the playing field” in ways that, in his opinion, have diluted the overall quality of music. This brings me back to my days as a professional photographer. We had similar debates when digital cameras—and later smartphones—flooded the market. I remember thinking that these tools were letting people into the field who had no business being there. Of course, in hindsight, I was mostly wrong about that. Technology democratizes, but that doesn’t necessarily mean it devalues. > “Pro Tools... has leveled the playing field that allowed people who can’t sing to sound like they can sing. And people who can’t play guitar now sound like they can.” — Billy Corgan I wonder—does democratizing access to creative tools really harm the craft, or does it just change the game? [Read the original article →](https://musictech.com/news/music/billy-corgan-pro-tools-made-music-worse/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-23) --- *PUBLIC ART* --- ![Picture Gallery of Durham Cathedral Lit up By Immersive Lightshow About Space](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_59c1307c-6557-4add-8f42-e0d83da20d51.jpg) ## Picture Gallery of Durham Cathedral Lit up By Immersive Lightshow About Space Luxmuralis returns to Durham Cathedral with *Space*, an immersive light and sound show about galaxies and outer space, reports *The Northern Echo*. The cathedral, nearly 1000 years old, will host stunning light projections of stars and galaxies, along with original footage of a rocket launch, all backed by intricate soundscapes. There’s something profound about seeing ancient walls bathed in light that tells a story of exploration and wonder. When we visited the Sagrada Familia in Barcelona last year, the natural light pouring through those stained glass windows felt spiritual. These cathedral spaces seem to hold light in a way that transforms the ordinary into something sacred. > "Experiencing these light shows inside a cathedral, surely must be special. We visited Barcelona and the Sagrada Familia Cathedral for my birthday last year, and it was simply a spiritual experience to see the light show put on by nature and the colored glass sundrenched windows inside that space." How do you think these light shows change our relationship with sacred spaces? [Read the original article →](https://www.thenorthernecho.co.uk/news/24642111.durham-cathedral-lit-immersive-lightshow-luxmuralis/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-23) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Problematic: Just How Do You Measure Participation In The Arts?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cfd05041-2835-4070-8663-079aca908417.jpg) ## Problematic: Just How Do You Measure Participation In The Arts? Douglas McLennan’s article on ArtsJournal asks an essential question: how do we measure participation in the arts today? It’s no longer just about ticket sales or physical attendance at galleries and theaters. Now, participation includes online engagement—what we share, like, and comment on. McLennan points out how these new forms of digital interaction have changed the landscape, with the National Endowment for the Arts grappling to make sense of it all. What I find intriguing is the shift McLennan highlights: as digital participation in the arts grows, physical engagement is declining. Museums, live theater, and concerts are seeing fewer visitors. The irony is hard to miss—while technology has made art more accessible, it’s also pulling people away from real-world experiences. > “Technology has put creative tools in the hands of billions, and both the amount of content being made and its accessibility have exponentially increased.” So, where does *real* participation happen for you? Online or in person? [Read the original article →](https://www.arts.gov/impact/research/responses-to-the-2022-SPPA/the-tyranny-of-abundance?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-23) ![London Standard’s AI-Generated Review, by Late Art Critic Brian Sewell, Exposes a Significant Philosophical Threat](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_db43d76b-d3cf-4445-a55f-767ac792b8cf.jpg) ## London Standard’s AI-Generated Review, by Late Art Critic Brian Sewell, Exposes a Significant Philosophical Threat London Standard’s recent AI-generated review of the *Van Gogh: Poets and Lovers* exhibition, written in the style of late art critic Brian Sewell, raises more than a few eyebrows. The original article, from *The Conversation*, points out a deeper issue: this isn’t just about AI replacing a human critic—it’s about resurrecting someone’s voice after death. Philosophically, it’s a bit unsettling. So, here’s my take: This isn’t just a question of whether AI can review art. AI is now stepping into the shoes of a person who’s no longer here. Sewell’s wit, sharpness, and unique perspective were part of a living dialogue. Replicating that voice posthumously, without his involvement, feels like a reduction, a flattening of what it means to be human. > "It’s not just AI critiquing art. It’s AI resurrecting a critic’s voice—and that’s where it starts getting uncomfortable." Where do we draw the line between honoring someone’s legacy and exploiting their voice, even after they’re gone? [Read the original article →](https://theconversation.com/london-standards-ai-generated-review-by-late-art-critic-brian-sewell-exposes-a-significant-philosophical-threat-240230?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-23) --- *ARCHITECTURE* --- ![Travels in Interiors Hyperreality](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8b9f87f6-a8c3-4c6f-b320-abb74d91f2dc.jpg) ## Travels in Interiors Hyperreality Charlotte Taylor and Riccardo Fornoni’s *Villa Saraceni*, as described in the Financial Times, explores the fascinating world of virtual architecture—designs that exist only in digital form. Their work, along with others in the piece, plays with the boundaries of reality. But for me, architecture isn’t complete until it’s built. Virtual reality is a great tool for visualization, yet it remains just that—an idea. The problem I see is when these digital concepts are placed on the same level as physical spaces. A rendering is still a 2D image, no matter how photorealistic it looks. You can’t walk through it, feel the materials, or experience the space as you would in reality. > "For me, virtual reality and augmented reality are excellent tools for previewing a concept, but they remain just that: concepts. Architecture only truly exists when something is actually built." Do you think these digital spaces have real value outside of being a creative exercise? [Read the original article →](https://www.ft.com/content/fec22831-ac74-4d5b-8c6b-6ae4c23a5bf2?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-23) --- *SUSTAINABILITY IN ART AND TECH* --- ![Evergreen Art: Depictions of Trees Over the Centuries – in Pictures](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e1e2aeb6-85ca-4d77-ba25-6395bcd30904.jpg) ## Evergreen Art: Depictions of Trees Over the Centuries – in Pictures The Guardian recently featured a visually stunning article, “Evergreen art: depictions of trees over the centuries,” showcasing how artists have turned to trees for inspiration across time—from ancient rock art to AI-enhanced photography. It’s fascinating to see works by Pierre-Auguste Renoir, Hilma af Klint, and Trevor Paglen side by side, demonstrating how trees have been an enduring subject, as much a part of our collective artistic consciousness as they are of our environment. One of my earliest memories of art was seeing Caspar David Friedrich’s *Der Einsame Baum* (Lonely Tree). The way that solitary tree stands against a barren landscape always captivated me. When I met my wife, Robyn, we both discovered this was our favorite painting. Trees in artwork have stayed with me ever since. > “Each tree has its own character like a person: they are charismatic in their own right,” writes Tony Kirkham, former head of Kew’s Royal Botanic Gardens. What tree in art has resonated with you? [Read the original article →](https://www.theguardian.com/artanddesign/gallery/2024/oct/05/evergreen-art-depictions-of-trees-over-the-centuries-in-pictures?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-23) ![Cairo Urban Week Kicks Off October 27: A Celebration of Sustainability, Art, and Urban Development](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_454dc680-74df-4b16-8197-9a4cbc32179a.jpg) ## Cairo Urban Week Kicks Off October 27: A Celebration of Sustainability, Art, and Urban Development Cairo Urban Week, as covered by *Daily News Egypt*, kicks off on October 27, setting the stage for a celebration of sustainability, art, and urban development. This lead-up to the 12th World Urban Forum (WUF12) showcases activities ranging from exhibitions to guided tours, all focused on Cairo's evolving urban landscape. Events like "Sustainability in Art" at the National Museum of Egyptian Civilization will explore contributions from ancient Egypt to modern development. What really resonates with me is the idea of art as a driving force in sustainable societies. Throughout history, art has not just been a reflection of culture but a tool for shaping the environments we live in. > "Art has always played a role in making cities sustainable. From the design of ancient temples to modern urban planning, it's about creating spaces that last—and that people connect with." What can we learn from ancient Egyptian art to shape the future of cities today? [Read the original article →](https://www.dailynewsegypt.com/2024/10/01/cairo-urban-week-kicks-off-october-27-a-celebration-of-sustainability-art-and-urban-development/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-23) --- *EXHIBITIONS & EVENTS* --- ![‘spaces’ Brings Together Leading Voices in The Intersection of Technology + Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_47fef616-5e5f-4563-b686-e3a6ae2b63f0.jpg) ## ‘spaces’ Brings Together Leading Voices in The Intersection of Technology + Art HOFA Gallery and PhillipsX are bringing together some of the most innovative voices in art and tech with their upcoming exhibition, *SPACES*. As Mark Westall from *FAD Magazine* reports, artists like Sougwen Chung, Refik Anadol, and Krista Kim are pushing the boundaries of what constitutes art in the digital age. Chung’s collaboration with a robotic arm and Anadol’s data-driven works bring us face-to-face with the growing role of machines as partners in the creative process. We recently visited the Victoria and Albert Museum in London—our favorite museum in the city by far. Compared to the British Museum, which felt packed and somewhat stale in its curation, the V&A seemed more forward-thinking. It’s no accident they were among the first to acquire an AI as part of their collection. > "It is telling that the Victoria and Albert Museum is one of the first museums to acquire an AI-based collection and algorithm as part of its exhibit. Indeed, is this a sign of the times?" How long before other institutions follow, or are they already falling behind? [Read the original article →](https://fadmagazine.com/2024/10/02/spaces-brings-together-leading-voices-in-the-intersection-of-technology-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-23) ![Rapt Up: A Review of “Pattern Recognition” at The Plan](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_981e2253-2a39-4cbf-bad3-4248472995da.jpg) ## Rapt Up: A Review of “Pattern Recognition” at The Plan Esau McGhee and Andrew Falkowski’s “Pattern Recognition” at The Plan, reviewed by The Plan’s team, showcases a unique way of reshaping the excess of contemporary life. The exhibition pulls in discarded objects and patterns them in ways that challenge how we see everyday junk—it’s as if they’re trying to make us recognize a hidden order in the chaos. Continuing with our theme of pattern recognition and pareidolia, what I find compelling is how this show mirrors our digital habits. The constant noise of our tech-driven lives, riddled with consumerism, gets reflected in these works. It’s the detritus of our times, repurposed and arranged to reveal something unexpected. > "What McGhee and Falkowski have done is almost like an analog version of digital clutter—taking the overlooked and reworking it into a visual code that forces you to re-examine your surroundings." Are we just pattern-seeking beings in a world of endless digital and physical debris? What are we hoping to find? [Read the original article →](https://art.newcity.com/2024/10/02/rapt-up-a-review-of-pattern-recognition-at-the-plan/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-23) --- *FUTURE TRENDS IN ART AND TECH* --- ![Nala Founder Ben Gulak on How to Navigate the Art Market Downturn with Big Data and Direct Connections](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_908f7a3e-cd9c-44ff-b657-e9172869a8a6.jpg) ## Nala Founder Ben Gulak on How to Navigate the Art Market Downturn with Big Data and Direct Connections Ben Gulak’s recent piece on **VentureBeat** dives into the ongoing downturn in the art market, driven by economic challenges and shifting buyer behaviors. He attributes much of this to the rising cost of living, which has forced many to prioritize essentials over luxury items like art. Gulak’s **NALA (Networked Artistic Learning Algorithm)** aims to address this, allowing artists to connect directly with buyers, bypassing traditional gatekeepers. Maslow’s hierarchy of needs comes to mind here. If people are struggling to pay for groceries and gas, it’s no wonder art is falling by the wayside. While Gulak’s vision of a more accessible art market is appealing, the reality is, when survival is on the line, art—however essential to the human experience—gets pushed aside. > “Maybe on the high end of the market, people are holding onto their money and waiting on geopolitical issues, but I think most people are just struggling right now, and we have to accept that,” Gulak says. So, what happens when art becomes a luxury rather than a necessity? [Read the original article →](https://venturebeat.com/business/nala-founder-ben-gulak-on-how-to-navigate-the-art-market-downturn-with-big-data-and-direct-connections?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-23) --- *THE LAST WORD* --- Thanks for spending your time with these stories. Your curiosity and support are truly appreciated. If anything caught your attention or sparked a thought, don't hesitate to reach out—I'd love to hear from you. Let's continue this conversation and see where our shared interests take us. Best, Juergen ### What It Means to Make Something in the Age of AI URL: https://theintersect.art/issues/22/ Last updated: 2026-08-10T15:27:49.000Z Hi all, This edition of "The Intersect" is packed with stories that challenge our perceptions and highlight the fascinating interplay between art and technology. We're diving into the curious case of AI artist Jason M. Allen, who now finds himself in a legal battle over copyright issues—ironic, given the controversies surrounding AI and artistic ownership. You'll also find insights into how AI is reshaping the creative process, as playwright Ayad Akhtar shares his experiences of crafting a play with AI as a collaborator. We also explore the evolving world of design, with a spotlight on OpenAI's logo change and what it signifies beyond aesthetics. And for those intrigued by human perception, there's a fascinating take on pareidolia—the tendency to see faces in inanimate objects—and how AI compares in this quirky field. From NASA's artistic endeavors to the innovative blend of ecological awareness and culinary arts, this issue is all about pushing boundaries and redefining creativity. --- *AI IN VISUAL ARTS* --- ![Famous AI Artist Says He’s Losing Millions of Dollars From People Stealing His Work](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8bb8aca0-6352-4b81-b988-6d2721fd480e.jpg) ## Famous AI Artist Says He’s Losing Millions of Dollars From People Stealing His Work Jason M. Allen, who won a Colorado art competition using Midjourney, is back in the news with a lawsuit, as reported by Gizmodo. Ironically, after creating AI-generated art that some claim borrowed from other artists, Allen now argues that his own AI-created piece, *Théâtre D’opéra Spatial*, is being stolen without his permission. Here’s where it gets interesting: many folks believe AI tools like Midjourney “steal” from artists when, in reality, the training process is more complex. It’s not as simple as copying. But now Allen finds himself in a position where he’s asking for copyright protections for AI-generated images. > "In an odd twist, Allen is facing the same accusations that have been leveled at the AI tools he used—people are copying his work without credit or compensation." So, can you really claim ownership over something created with AI? That’s the question we’re all left with. [Read the original article →](https://gizmodo.com/famous-ai-artist-says-hes-losing-millions-of-dollars-from-people-stealing-his-work-2000505822?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-22) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![What It Means To Write A Play In The Age Of AI](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_ed50f8d8-696c-45a8-b4d5-5c7a238c55e6.jpg) ## What It Means To Write A Play In The Age Of AI Ayad Akhtar’s new play, *McNeal*, covered in *The Atlantic* by Jeffrey Goldberg, explores the intersection of AI and creativity. Akhtar goes beyond the typical narrative of AI as a threat to human ingenuity, suggesting instead that tools like ChatGPT, Claude, and Gemini can serve as collaborators, helping writers refine their work without taking the reins completely. To my chagrin, Akhtar found that AI actually helped make his play *better*. I’ve spent enough time with writers—whether in workshops or through my wife’s own writing journey—to hear similar thoughts. AI isn’t just about churning out content; it’s about assisting in the process. It helps keep track of ideas, backstories, and even offers new angles on old themes. > "To my chagrin and astonishment, they seem to have helped him make an even better play." So, is AI a threat to creativity, or could it be a tool to help us push our creative limits even further? [Read the original article →](https://www.theatlantic.com/magazine/archive/2024/11/mcneal-play-akhtar-downey-artificial-intelligence/679949/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-22) --- *DESIGN* --- ![Why Concerns About Open AI’s New Logo Are About More than Design](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ed5f04fd-72b9-4605-b4e1-cb4b7e05c8e9.jpg) ## Why Concerns About Open AI’s New Logo Are About More than Design Fortune recently reported that OpenAI is considering a logo change, moving from their iconic spiral to a simple black circle. While the article highlights concerns about the shift, it also suggests that the reaction to this rebranding may go beyond mere design choices. Credit to Fortune for bringing this subtle but significant change to attention. Two things come to mind. First, when you raise billions of dollars, redesigning a logo is a drop in the ocean. Second, I wonder if the unease people feel about this new logo has less to do with the design itself and more to do with recent negative press surrounding OpenAI. It’s like we’re seeing a Rorschach test in branding—pareidolia in action. > "The consensus seems to be that their original logo was positive and optimistic, and now, the new design feels somewhat ominous. But is it really the logo, or is it just the weight of everything else happening?" Do we sometimes read too much into simple design changes based on what’s happening behind the scenes? [Read the original article →](https://www.fastcompany.com/91200958/concerns-openai-new-circle-logo-more-than-design?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-22) --- *PERSONAL PROJECTS* --- ![Seeing Faces in Things: A Model and Dataset for Pareidolia](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_f043eda1-a0ef-4d5a-8eb7-ff98426dc3a4.png) ## Seeing Faces in Things: A Model and Dataset for Pareidolia I came across an article titled *"Seeing Faces in Things: A Model and Dataset for Pareidolia"* by Mark Hamilton, which explores how humans and machines differ in detecting faces in random objects—think clouds, coffee stains, or even buildings. The research highlights a "behavioral gap" between human perception and AI, with humans being far more prone to see faces where none exist, like spotting a grumpy expression on your morning toast. I couldn’t help but relate this to my own recent adventures in pareidolia. I’ve published two Medium articles about buildings that look hilariously expressive—one grumpy, one cheerful. *Shameless plug:* [Check out the grumpy building here](https://cur.at/M90YUnY?ref=theintersect.art). > "Face pareidolia" taps into something deeply human, an evolutionary instinct to identify faces for survival. Machines? They're still catching up, but it’s fascinating to see how far they’ve come. So, do you see faces in your coffee—or maybe your neighborhood architecture? [Read the original article →](https://arxiv.org/abs/2409.16143?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-22) --- *ARCHITECTURE* --- ![Urban Learners: How Art and Architecture Reflect and Shape Their Audiences](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_35a8a0d4-367e-4585-8051-cbcbbf506eb2.jpg) ## Urban Learners: How Art and Architecture Reflect and Shape Their Audiences Fran Williams and Rob Wilson’s piece in *The Architects’ Journal* highlights Urban Learners, a non-profit initiative aimed at engaging young people from underrepresented backgrounds in architecture. Through workshops, partnerships, and creative learning, Urban Learners fosters opportunities for those often overlooked by traditional training routes. It’s a grassroots approach that aims to diversify the architecture profession by making it more accessible early on. It's a fascinating idea that architecture, like many art forms, often doesn't reflect the people it’s built for. It makes me wonder how often we see this across other creative industries. Aboriginal art, for instance, underwent changes in the 1970s to cater to the aesthetic preferences of white Australians. What does this say about the relationship between art and its audience? > "Architecture education should start earlier than at university...how art connects with the environment and vice versa." — Venetia Wolfenden, Urban Learners founder Do the arts always represent the work they produce, or do they shape themselves to fit the expectations of their audience? [Read the original article →](https://www.architectsjournal.co.uk/news/architectural-mentor-3-urban-learners?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-22) --- *SCULPTURE* --- ![The Glass World is Heating Up](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_42a3b8e2-ab90-4695-8a90-2bc031866172.jpg) ## The Glass World is Heating Up Venice Glass Week just wrapped, and Dalya Benor from *Elephant* caught up with some of the most exciting artists under 35 working with glass. Clara Schweers, Tessa Sakhi, and Linda Tidenberg are pushing the boundaries of this centuries-old craft. It’s amazing to see how these young artists blend tradition with modern design. I've always thought glassmaking is super cool, and we visited Murano once back in the day. What an amazing island it is! But did you know that in December 1291, the government of Italy ordered all glassmakers across Venice to move out to that island? The process of making glass art was so secret a technology that they wanted to keep it that way. > "Working with glass is like dancing with your loved one — every small touch and gesture guides you forward together," says Tidenberg, reflecting the patience and fragility the material demands. So, what do you think? Is glass art still relevant today, or are we just nostalgic for an ancient craft? [Read the original article →](https://elephant.art/the-glass-world-is-heating-up/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-22) --- *ART & SCIENCE* --- ![NASA Relaunches Art Program with Space-Themed Murals](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ba377dae-2b92-4417-8d25-7d1635881b63.jpg) ## NASA Relaunches Art Program with Space-Themed Murals NASA’s latest art initiative, highlighted by Space.com, features two space-themed murals by Geraluz and WERC in New York’s Hudson Square. These vibrant murals are part of NASA’s reimagined art program aimed at engaging the Artemis Generation—a nod to the future explorers who will push humanity forward. The pieces evoke dreams of space through the eyes of children, blending art and science to inspire curiosity. Here’s my take: Art can be an essential tool for shaping how we engage with new discoveries. As NASA Deputy Administrator Pam Melroy put it, we need the next generation to think critically and use creativity to tackle the challenges of tomorrow. And what better way to spark those minds than through public art that connects us to the vast unknown? > “Art is essential in preparing young minds for this task,” Melroy reminds us. It’s not just about space—it’s about imagination. So, in a way, art helps prepare ourselves to think beyond the limits of our current reality... [Read the original article →](https://www.nasa.gov/general/nasa-relaunches-art-program-with-space-themed-murals/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-22) ![Artists And Chefs Are Putting Ecological Crises On The Menu](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b2ed8331-cc6c-4fce-9330-1c31b18a1d57.jpg) ## Artists And Chefs Are Putting Ecological Crises On The Menu Christina Couch's piece on Science Friday delves into how artists and chefs spotlight ecological crises through food, blending culinary arts and environmental activism. The article highlights the Center for Genomic Gastronomy's use of AI to create recipes from food forests, and other projects that make existential threats tangible and edible. In the 80s, food art was all about fun and creativity. Now, it has found an environmental meaning, especially in this application. Here’s a prime example of arts and science—specifically food science—coming together to address pressing issues. > "Our goal is not to market something or to bring an ideology to bear, but to create a moment when people feel those futures or experience those strange realities today and then parse through with others how they feel about them," says Zack Denfeld of the Center for Genomic Gastronomy. Can we use food science to raise awareness and drive meaningful action on environmental issues? [Read the original article →](https://www.sciencefriday.com/articles/artists-chefs-climate-ecological-crises-food-flavor/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-22) --- *CREATOR PLATFORMS AND TOOLS* --- ![Microsoft Paint Is Getting Photoshop-Like Generative AI Fill and Erase Features](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_346d16ae-3d48-4953-9d9a-0b29f551f2fc.jpg) ## Microsoft Paint Is Getting Photoshop-Like Generative AI Fill and Erase Features Microsoft Paint, once the go-to app for pixelated doodles, is making a surprising leap into the AI-driven future, according to a piece from *The Verge*. With features that mimic Adobe Photoshop’s Generative Fill and Erase, Paint now allows users to add or remove objects from images using AI, all with simple brush strokes and text prompts. And yes, you read that right—Microsoft Paint. Excuse me if I’m of a certain age where even the word "Microsoft Paint" seems so dated that it almost makes me laugh out loud. I mean, who still uses Microsoft Paint? Has that product survived? Wow. > "Generative Fill in *Paint* almost feels like someone slapped a rocket engine onto a bicycle. It’s cool—but also, really? Paint?" I can’t help but wonder: Is this the future of creativity, or just another way to make us nostalgic for our early tech days? [Read the original article →](https://www.theverge.com/2024/10/1/24259239/microsoft-paint-generative-erase-fill-photos-upscaling?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-22) --- *EXHIBITIONS & EVENTS* --- ![Refik Anadol to Open the World’s First AI Art Museum](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ea3ba507-b261-4183-8e90-2800f2c5d5ed.jpg) ## Refik Anadol to Open the World’s First AI Art Museum Refik Anadol is set to open the world’s first AI art museum, "Dataland," in Los Angeles in 2025, according to an article from [Artnet](https://cur.at/oEXD59j?ref=theintersect.art). The museum will feature a permanent collection of AI-generated art, including some of Anadol’s most striking works from the past decade. It’s a watershed moment for AI in the art world, but it raises an interesting question about cultural perceptions of AI. Now, I realize that this opening in Los Angeles, even though Refik is Turkish by origin, made me think: Is there a cultural difference in how we approach AI in art? Are Americans more hesitant or perhaps more accepting than others? > "I wonder if we, as Americans, are truly as open to experimentation as we claim. How does our acceptance of AI in art compare to, say, the art-savvy Europeans or even tech-forward cultures like Japan?" So, what do you think? Are we really embracing this fusion of tech and art as much as we could? [Read the original article →](https://parametric-architecture.com/refik-anadol-open-first-ai-art-museum/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-22) --- *THE LAST WORD* --- Thanks for joining me on this journey through the intersection of art and technology. Your engagement and curiosity are what make this exploration so rewarding. If any of these stories sparked a thought or question, I'd love to hear from you. Let's keep this conversation alive and continue to uncover the dynamic relationship between art and tech together. All the best, Juergen ### You Don't Hate AI, You Hate Capitalism URL: https://theintersect.art/issues/21/ Last updated: 2026-08-10T15:27:48.000Z Hi all: This week, get ready for some wild stories: an artist’s take on why capitalism, not AI, is killing creativity, a zoo that hilariously tried to pass off painted dogs as pandas, and how AI chatbots can reinforce gender stereotypes. Plus, we'll explore a London newspaper’s bizarre move to revive a deceased art critic using AI, a parody website challenging a fishing giant, and an artist’s clever use of traditional methods to create what looks like AI-like art. --- *PUBLIC ART* --- ![Chinese Zoo Comes Clean After Scheme to Paint Dogs to Look Like Pandas Blows up In Their Faces when They Start Barking](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1878e027-ff43-4ca8-847b-49bad0679f7c.jpg) ## Chinese Zoo Comes Clean After Scheme to Paint Dogs to Look Like Pandas Blows up In Their Faces when They Start Barking A hilarious piece from *We Got This Covered* highlights how a Chinese zoo tried to pass dyed chow chows as pandas. The ruse fell apart when visitors noticed the “pandas” barking—a dead giveaway. This isn’t the first time zoos in China have pulled this stunt, with another zoo caught using the same trick earlier this year. I couldn't resist sharing this for three reasons: First, it's funny. Second, it involves painting. Third, no AI was involved in this absurd attempt to fool people. While the idea of painting dogs to resemble pandas is ridiculous, it also makes a fascinating point about how far people will go to imitate something iconic. > "Normal people dye their hair. Dogs can dye their hair, too," a zoo official said. Not quite the defense I expected, but sure, why not? If the zoo had access to AI, would they have tried to create virtual pandas instead? [Read the original article →](https://wegotthiscovered.com/social-media/they-get-an-e-for-effort-chinese-zoo-comes-clean-after-scheme-to-paint-dogs-to-look-like-pandas-blows-up-in-their-faces-when-they-start-barking/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-21) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Another Online Pervert: Kylee Isom in conversation with Brea Souders](https://theintersect.art/content/images/2026/07/2024-09-22_17-27-29.jpg) ## Another Online Pervert: Kylee Isom in conversation with Brea Souders Brea Souders’ conversation with Kylee Isom on Lenscratch explores her project *Another Online Pervert*, a striking blend of digital imagery and AI-chatbot dialogue. The work dives into themes of identity, gender, and the ways technology shapes — and sometimes distorts — our interactions. Souders’ reflection on her exchanges with a "female" chatbot reveals an unsettling truth about how AI often reinforces harmful social structures. I find it fascinating how Souders’ work brings out the inherent sexism embedded in AI programming, especially in chatbots. This isn't just about technology; it’s about the cultural baggage we’re feeding into these systems, making them reflect and perpetuate outdated views on gender and power dynamics. > "The chatbot was programmed to be 'female' and perpetually 18 years old, and was created by men. The implications of gendering AI are numerous." Where else do we see this bias creeping into our digital tools, and what can we do to change it? [Read the original article →](http://lenscratch.com/2024/09/photographers-on-photographers-kylee-isom-in-conversation-with-brea-souders/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-21) ![London Newspaper Plans to Revive Dead Art Critic With AI, Lays Off Real Writers](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3c9bf740-070d-44ee-bddd-a2acf7b881ce.jpg) ## London Newspaper Plans to Revive Dead Art Critic With AI, Lays Off Real Writers London’s *Evening Standard* has decided to resurrect the late art critic Brian Sewell using AI, according to a report from *Deadline*. Sewell, known for his sharp and often divisive opinions, passed away in 2015, but now an algorithm is set to review exhibitions under his name. The first on the list? Van Gogh’s *Poets and Lovers* at The National Gallery. For many of my artist friends, this feels like a double whammy. There’s not an outright hatred for AI or art critics, but combining them? It’s a curious choice, to say the least. A sort of "sign of the times" moment. > "But in this case, it’s hard not to feel that it’s more than a little… well, “yikes.” Is this just a publicity stunt, or does the *Standard* really think AI can channel the voice of a critic who made his living *feeling* art? [Read the original article →](https://gizmodo.com/london-newspaper-plans-to-revive-dead-art-critic-with-ai-lays-off-real-writers-2000502912?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-21) ![Samherji vs. Odee: Art, Accountability, and the Limits of Parody](https://theintersect.art/content/images/2026/07/2024-09-25_14-08-57.jpg) ## Samherji vs. Odee: Art, Accountability, and the Limits of Parody Samherji, Iceland's largest fishing company, is suing Icelandic art student Oddur Eysteinn Friðriksson (Odee) over a parody website that mimicked the company’s own. The fake site, **We’re Sorry**, mocked Samherji's alleged involvement in a fishing scandal in Namibia. The original piece, published by *Whistleblower Network News*, highlights how Odee's spoof questions the limits of artistic parody, but the company is pushing back with legal action. Really? Can you sue someone for creating a parody website of something? I mean, maybe in Iceland—and maybe when it comes to their fishing industry—they take this form of artistic expression extremely seriously. But it raises the question: where does satire end and corporate control begin? > "I can’t help but wonder, is this really about branding, or is it about silencing a pretty sharp critique, or is simply a form of attention seeking? Does this set a precedent where companies decide what's too close for comfort? [Read the original article →](https://whistleblowersblog.org/global-whistleblowers/samherji-vs-odee-art-accountability-and-the-limits-of-parody/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-21) --- *AI IN VISUAL ARTS* --- ![You Don’t Hate AI, You Hate Capitalism](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_62aa8d02-a0b2-4506-a580-5a3130b3fda4.jpg) ## You Don’t Hate AI, You Hate Capitalism Artist Charlie Engman’s article on ArtNews, *“You Don’t Hate AI, You Hate Capitalism”*, tackles the tension between AI and creativity. Engman argues that AI isn’t inherently bad—it’s how it's being used and commodified under capitalism that’s the issue. His experiments with generative AI, especially in his book *Cursed*, reveal the inherent oddities and distortions AI brings to the creative process, sparking debates about whether AI threatens the essence of human creativity. What stands out to me is the idea that creativity isn't some fixed, moral constant. AI challenges our assumptions, especially when it comes to authorship and originality, but maybe that's not a bad thing. Who decides what "real" creativity is? And why does it have to belong to one person or group? > "Critics saw the wrongness depicted in my images as a direct analogy to the wrongness of the technology itself. In their view, creativity has an inherent, fixed morality that AI is poised to corrupt." Is AI really corrupting creativity, or are some of us just afraid of losing control over it? [Read the original article →](https://www.artnews.com/art-in-america/features/you-dont-hate-ai-you-hate-capitalism-1234717804/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-21) --- *DEFINITELY NOT AI* --- ![Roberto Diaz’s Art of Chaos](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_49ec83ea-912a-4288-aebc-eab7a64f6702.jpg) ## Roberto Diaz’s Art of Chaos Roberto Diaz’s “Arte del Caos,” as highlighted by The Awesomer, showcases his twisted transformations of classical religious art. What’s notable here is that Diaz takes pride in creating these eerie, mixed-media pieces entirely without AI tools. In a world where many artists now lean on AI for efficiency or inspiration, Diaz’s hands-on approach stands out. But here’s the thing: his work looks *so* much like something that *could* have been AI-generated. So, is this a win for traditional craft? Or is it just proof that AI and human creativity can now produce eerily similar results? > “So here's an example where an artist takes extreme pride in producing something that looks AI-generated but was completely created without the use of AI. So, is this a victory of sorts?” It makes me wonder—does the line between human-made and AI-made art even matter anymore? [Read the original article →](https://theawesomer.com/roberto-diazs-art-of-chaos/750999/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-21) --- *INTERACTIVE ART* --- ![An Echo Chamber Installation by Post- Questions Freedom of Speech](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_138b515f-bcc5-4158-b280-cdd9f3d31d39.jpg) ## An Echo Chamber Installation by Post- Questions Freedom of Speech The recent installation by post-, featured on *Designboom*, invites participants into a 10-foot echo chamber where AI-modified versions of their own opinions are played back through eight speakers. The booth, surrounded by red vinyl strip curtains, creates a sensory environment that questions freedom of speech by reflecting ideas back to participants without opposition. It’s a compelling concept, but I’m not entirely convinced that I’d fully grasp the political implications through just sound. The installation simulates an echo chamber—ideas bounce back, unchallenged—but does that really capture the broader societal issue of echo chambers? I love the metaphor, but I wonder how much of the critique would come through in such a setup. > "Ideas and opinions are reflected back, often without challenge or opposition,” which is what makes echo chambers so dangerous. But experiencing that in an auditory installation? I’m curious, but not sure I’d walk away with any profound realizations. Would hearing only your own words really make you rethink them? [Read the original article →](https://www.designboom.com/art/ai-driven-echo-chamber-installation-post-freedom-speech-09-20-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-21) --- *FEATURED* --- ![Accidental Aesthetics on Medium](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_425047ff-a42f-45a2-a09f-c4ca26f05f00.jpg) ## Accidental Aesthetics on Medium Here's an update on my personal project called "Accidental Aesthetics": Explore the unique beauty in everyday scenes with me. From hidden architectural gems to unexpected street art, each story provides a visual and narrative adventure inspired by Wes Anderson’s style. > Follow me on Medium for detailed, narrative-driven content that highlights symmetry, serendipity, and hidden wonders. In "Accidental Aesthetics," I’m focused on creating large format art prints using only an iPhone. Transitioning from heavy DSLR equipment to mobile photography, I embrace the challenge of using various apps and AI tools for perspective correction, motion without a tripod, and producing artwork that balances fun with seriousness. Discover the techniques and stories behind this work by following "Accidental Aesthetics." Follow [Accidental Aesthetics on Medium](https://cur.at/ZZhlVnt?ref=theintersect.art) Thanks for your continued interest, Juergen [Read the original article →](https://medium.com/accidental-aesthetics?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-21) --- *ART & SCIENCE* --- ![How The Space Race Impacted American Abstraction](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ff799138-3f46-4f5b-ba08-bf22f90fe380.jpg) ## How The Space Race Impacted American Abstraction The article from *ArtNews* explores “Particles and Waves: Southern California Abstraction and Science, 1945–1990,” an exhibition at the Palm Springs Art Museum. It highlights how artists in Cold War–era Southern California were influenced by scientific advancements, from rocket science to optics research. Artists like Frank Malina, who left Caltech's Jet Propulsion Lab to pursue kinetic art, and Helen Lundeberg, who embraced extraterrestrial themes, show how deeply intertwined art and science were at the time. What excites me here is the intersection of art and science. We talk a lot about technology's role in art, but rarely do we see such a clear example where scientific exploration fuels creative expression. > "So many examples of art and technology intersect, but far fewer examples of art and science come to my attention when curating this newsletter. I’m always excited to highlight this rare overlap." Isn’t it fascinating how space exploration expanded not just our physical boundaries but also our creative ones? [Read the original article →](https://www.artnews.com/art-in-america/aia-reviews/space-race-abstraction-particles-waves-palm-springs-art-museum-1234718067/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-21) --- *VIRTUAL AND AUGMENTED REALITY IN ART* --- ![New VR Experience Celebrates Art History](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_0cffeef0-b19a-4a2d-af5d-dcd6474630a5.jpg) ## New VR Experience Celebrates Art History Eclipso Entertainment’s new virtual reality (VR) exhibit, *Tonight with the Impressionists*, takes visitors back to 1874 Paris, marking 150 years since the first Impressionist exhibition. As reported by **Technique**, the experience includes monologues from artists like Degas and Morisot, while guests explore the streets of Paris and the iconic works of the era. It's loaded with historical detail, immersive technology, and artistic passion. I think it’s a pretty cool idea to relive important moments in art history this way. Having gone to art school in Georgia, I hope some of my Atlanta friends get the chance to check this out. The idea of walking through a VR version of the *Place de l'Opéra* just sounds fascinating. > “We are trying to combine culture with technology and innovation,” says Jennifer Berghs, general manager of Eclipso Atlanta. How do you think VR will continue to reshape how we experience classic art? [Read the original article →](https://nique.net/entertainment/2024/09/20/new-vr-experience-celebrates-art-history/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-21) --- *EXHIBITIONS & EVENTS* --- ![This Is What Burning Man Looks Like From Space](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7cb7f291-9c69-41eb-8c49-5bbcad727459.jpg) ## This Is What Burning Man Looks Like From Space The European Space Agency’s recent satellite image of Burning Man 2024, as captured by the Copernicus Sentinel-2 mission, was highlighted by Amanda Kooser in *Forbes*. The image shows the temporary Black Rock City settlement in the Nevada desert, home to the annual art-centric event. The satellite’s perspective reveals the festival’s sprawling scale, all against the backdrop of the sweeping desert landscape. But here’s my real take: Don’t you love it when an art-centric event is visible from space? It’s like the universe itself is acknowledging the scale and impact of human creativity. Burning Man, with its massive art installations and temporary architecture, becomes part of something much bigger—the Earth, the stars, the whole cosmic dance. > "Burning Man becomes a small part of a bigger picture, a momentary shift in an ancient landscape." So, does the art change when it’s viewed from so far away? Or does it become something entirely new when seen on this scale? [Read the original article →](https://www.forbes.com/sites/amandakooser/2024/09/20/this-is-what-burning-man-looks-like-from-space/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-21) --- *THE LAST WORD* --- Thanks for taking the time to explore these stories with me. Your continued interest and support mean a lot. If you have any thoughts or questions about the pieces, I'd love to hear from you. Let's keep the conversation going and continue to uncover the rich intersections of art and technology together. Best, Juergen ### Ask How, Not If: AI and the Art It Makes URL: https://theintersect.art/issues/20/ Last updated: 2026-08-10T15:27:47.000Z Hi all: For this edition of "The Intersect," I've curated a mix of stories that highlight the fascinating interplay between art and technology. You'll find the breathtaking winning shots from the 2024 Astronomy Photographer of the Year contest, showcasing the skill and patience required in astrophotography. Plus, the revival of the iconic Rollei 35AF, blending nostalgic charm with modern tech, caught my eye—it's a compelling read for anyone interested in photography. I should mention that this edition is a bit photography-centric, something I'm prone to do from time to time. I hope you'll find these topics as engaging as I do. I'm also examining the role of AI in photography and art. With advancements making it harder to distinguish between genuine post-production and AI manipulation, it raises the question: can AI truly be considered a form of art? These are some of the thought-provoking topics I hope you'll ponder along with me. --- *AI IN VISUAL ARTS* --- ![Don’t Ask if AI Can Make Art — Ask How AI Can Be Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_eaae3c60-0b49-4c7a-a8e2-b50b45d45c30.jpg) ## Don’t Ask if AI Can Make Art — Ask How AI Can Be Art In a recent piece from The Verge, the article "Don’t ask if AI can make art — ask how AI can be art" dives into the ongoing debate about AI’s role in creative fields. The author highlights how generative AI tools, while often producing "bland content sludge," also offer new ways for artists to interact and play. It’s not just about the final output, but the process of engaging with AI that holds artistic potential. The idea that art isn’t just the end product, but the journey of creation, resonates with me. The act of tweaking and training AI models feels like a creative exploration in itself. > “Convincing them to combine those elements for a certain outcome produces the same satisfying feeling as building something in a video game or feeling the solution to a puzzle click.” So, is the real shift not wondering if AI can make art, but choosing to view it as a form of play? [Read the original article →](https://www.theverge.com/2024/9/13/24241189/generative-ai-interactivity-art?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-20) ![Ferrari Camper Vans and Other Imaginary Secret Cars Jump out Of Mr. François’ Photo Book](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_94de924d-b677-4104-8707-a5fd51473957.jpg) ## Ferrari Camper Vans and Other Imaginary Secret Cars Jump out Of Mr. François’ Photo Book Mr. François’ new photo book, *Secret Cars: 300 Promptographs*, takes us on a whimsical ride with imaginative, never-before-seen vehicles. Featured on *Designboom*, his collection uses over 300 AI-generated prompts to create a range of playful, fantastical vehicle designs—think Ferrari camper vans and other dreamlike car hybrids that simply don’t exist. It’s pure fun, a creative exercise that pushes the limits of what AI can visualize. Now, I know what you're thinking: “Imaginary cars are not art.” But come on, they’re so much fun! The ability to manifest such outlandish ideas through AI is a perfect example of how tech can fuel creativity. Sure, they’re not meant to change the world, but they challenge our perceptions of design in a really playful way. And for me, sometimes, that's enough. > “These ‘secret cars’ might not be hanging in a gallery anytime soon, but they’re exploring the sheer joy of experimentation—of seeing where AI assisted design can take us when we let go of rigid definitions.” So here's my question: Are we limiting what we consider "art" by clinging to traditional forms, or can we embrace the fun side of AI-generated creativity without hand-wringing about the methods used to generate these images? [Read the original article →](https://www.designboom.com/art/ferrari-camper-vans-secret-cars-mr-francois-ai-photo-book-promptographs-09-20-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-20) --- *PHOTOGRAPHY* --- ![2024 Astronomy Photographer of the Year Contest: Photos](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c523c2d7-6292-4d2e-8417-101b31dddccb.jpg) ## 2024 Astronomy Photographer of the Year Contest: Photos The overall winner of the international Astronomy Photographer of the Year contest was announced yesterday, with the title going to Ryan Imperio for his sci-fi-esque shot, “Distorted Shadows of the Moon’s Surface Created by an Annular Eclipse.” Taken in Odessa, Texas, during the 2023 annular eclipse, the image (above) captures Baily’s beads, which are formed when sunlight peaks through valleys and craters on the moon’s surface and breaks up an eclipse’s recognizable ring pattern. They are only visible when the moon enters or exits an eclipse, making them particularly tricky to photograph. > “The images selected each year are absolutely astonishing and I am both thrilled and honored to have my photo among them,” United States-based Imperio said in a statement. The rest of the images in this article also pretty astonishing and the art of astrophotography simply amazes me. [Read the original article →](https://nicenews.com/environment/2024-astronomy-photographer-of-the-year-contest/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-20) ![Is that Photo Real or AI? Google's 'About This Image' Aims to Help You Tell the Difference](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_47fb19ec-4d8b-4ad2-9952-33588f59da24.jpg) ## Is that Photo Real or AI? Google's 'About This Image' Aims to Help You Tell the Difference Google’s new "About this image" tool, as reported by ZDNet, offers a way to help distinguish between real photos and AI-generated ones by analyzing metadata. This feature, developed with the Coalition for Content Provenance and Authenticity (C2PA), is part of a broader effort to combat misinformation around digital images. It’s an intriguing step, but it makes me wonder about its implications for photographers like myself. As someone who processes most of my images—treating them like digital negatives that need developing—I'm curious whether tools like Photoshop or Lightroom, which I use for basic corrections, might trigger these “AI warnings” down the line. Will simple edits be flagged as potentially deceptive? > "I often wonder if a simple color correction or exposure tweak will now be seen as AI interference, when in reality, it's just the modern equivalent of darkroom work." So, where do we draw the line between genuine post-production and AI manipulation? [Read the original article →](https://www.zdnet.com/article/is-that-photo-real-or-ai-googles-about-this-image-aims-to-help-you-tell-the-difference/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-20) ![Rollei 35AF, Film Camera icon, Reborn with New Technology Onboard](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9618c925-0ddf-429e-a88b-56320e1f1d71.jpg) ## Rollei 35AF, Film Camera icon, Reborn with New Technology Onboard Hong Kong-based Mint has breathed life back into a classic with the revival of the Rollei 35AF, as reported by Domus. Originally introduced by Rollei in 1966, this compact 35mm film camera was once the smallest of its kind. Now, with the addition of a Lidar-powered autofocus system, this reboot brings modern tech to nostalgic aesthetics. Preorders opened in early September, but demand was so high that Mint had to halt orders after just two days. I have to admit, this one tugs at my heartstrings a bit. I owned the original Rollei 35 back in the day and loved it. But as much as I'd like to get my hands on this new version, I’d much prefer a digital version. Honestly, the idea of waiting after 20 exposures for processing? That’s a hard pass. I’m just too spoiled by the instant gratification of digital photography. > "As much as I would love to get my hands on this, I would far prefer it if it was digital. I'm not going back to twenty or thirty exposures on a piece of film and waiting a long time for it to be processed." So, what do you think? Is there room for film in a digital world, or is nostalgia clouding our judgment? [Read the original article →](https://www.domusweb.it/en/news/gallery/2024/09/13/rollei-35af-icon-of-film-photography-reborn.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-20) ![What is a photograph in the age of AI, according to Google](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c7d23c63-923c-4691-bb5d-0e949aa86077.jpg) ## What is a photograph in the age of AI, according to Google Michael Specht, Google's Pixel Camera Product Manager, shares insights in a recent Domus article about the evolving role of AI in photography. Google's new Pixel 9 series introduces powerful generative AI features, transforming how photos are captured and edited. This shift aims to enhance user creativity but raises questions about the authenticity of images created with these tools. As we explore new possibilities for what a photo can be, Google is working to balance pushing the boundaries of phone photography while also keeping our photos genuine. I’m not sure it’s working. The use of generative imaging built right into the phone's camera in many cases does not lead to what we think of as genuine photos. We might need a new term and better description than the word “photo.” > The use of generative imaging built right into the phones camera in many cases does not lead to what we think of as genuine photos. In the age of AI, how we define photography is changing more than ever before. [Read the original article →](https://www.domusweb.it/en/news/gallery/2024/09/11/google-pixel-camera-photography-ai-conversation-with-michael-specht.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-20) --- *DESIGN* --- ![Firing Traditional Delftware Tiles Into the Future](https://theintersect.art/content/images/2026/07/2024-09-11_16-08-46.jpg) ## Firing Traditional Delftware Tiles Into the Future The Financial Times highlights a fascinating blend of past and future with AI creating delftware from online prompts. This approach showcases how technology can revive historical designs, giving them a new purpose in our contemporary spaces. I can see traditional tiles and mosaics as timeless, carrying historical charm into modern interiors. These designs are far from obsolete. They infuse spaces with stories from the past, making every room a canvas of cultural heritage. Imagine the unique touch of a century-old tile pattern in a modern kitchen — a conversation starter and a piece of history intertwined. > An engine designing delftware from an online prompt is one way the technology can leverage the past to create something new My parents collected Delftware tiles, and I like the thought of bringing these pieces of history into my kitchen for a sense of continuity in my ever-changing world. [Read the original article →](https://www.ft.com/content/071941d5-4a22-4c9f-b3c7-05bdab08a48d?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-20) --- *Q+ART & PODCAST INTERVIEWS* --- ![Technology Is Your Colleague in the Studio with Iris Scott (ep. 203)](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7495643e-2c35-4433-9455-a5b989d569d0.jpg) ## Technology Is Your Colleague in the Studio with Iris Scott (ep. 203) Artist Iris Scott sat down for an interview on *Art Biz Success* to discuss her career, the changing role of social media for artists, and how she integrates AI into her creative process. She also opened up about balancing art with motherhood and her experiences in Taiwan, a key time in her artistic development. One fascinating takeaway was her breakdown on how she handles income between originals and reproductions—something many artists can relate to. I've always loved hearing working artists talk about their process, especially those like Iris who’ve made it in a way I didn’t quite manage. Years ago, I pivoted to a corporate career, and only now am I finding my way back. Her reflections on the role of video in today’s art world hit home. > "The JPEG might be dead, and it's being replaced by video." Now, I’m not planning to hop on TikTok, but resisting video? That’s becoming harder. So, where do we draw the line between keeping up and staying true to our roots? [Read the original article →](https://artbizsuccess.com/scott-technology/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-20) --- *FEATURED* --- ![Accidental Aesthetics on Medium](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_a51bbb5b-da11-4ee9-9819-60e8dc066951.png) ## Accidental Aesthetics on Medium Hope you don't mind me sharing a personal project: Join my whimsical journey through "[Accidental Aesthetics](https://cur.at/v4txygy?ref=theintersect.art)," where I explore the unique and unexpected beauty in everyday scenes. From hidden architectural gems to serendipitous street art, each story is a visual and narrative adventure inspired by the style of Wes Anderson. > Follow me on Medium for detailed, narrative-driven content that captures the essence of symmetry, serendipity, and hidden wonders. Join my "Accidental Aesthetics" publication on Medium to explore a journey of creating large format art prints using only an iPhone. As a former photography professional, I’ve transitioned from heavy DSLR equipment to mobile photography, embracing the challenge of using various apps and AI tools for perspective correction, introducing motion without a tripod, and producing artwork that is both fun and serious. Discover the techniques and stories behind this work by following "Accidental Aesthetics". Follow ["Accidental Aesthetics" on Medium](https://cur.at/v4txygy?ref=theintersect.art) Cheers and thanks for checking it out, Juergen [Read the original article →](https://medium.com/accidental-aesthetics?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-20) --- *FUTURE TRENDS IN ART AND TECH* --- ![How Tech Is Powering the Art Market’s Expansion Into Luxury, Finance and Science](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_0edc328d-1695-416f-a03d-45ef71b866a5.jpg) ## How Tech Is Powering the Art Market’s Expansion Into Luxury, Finance and Science The article from The Art Newspaper touches on how technologies like blockchain, NFTs, and AI are still reshaping the art market across luxury, finance, and science, even years after the NFT hype of 2021\. What's interesting is how these tools are acting more like extensions of traditional art market systems—just shinier, digital versions. I’ve noticed fewer stories about NFTs since the bubble burst in 2022, but what stood out to me in this piece is how art markets, old and new, function similarly. What you’re really buying isn’t the object itself but what it represents. > “The conventional art market works the same way \[as the NFT market\],” says Brian L. Frye. “Sure, if you buy a painting or sculpture, you get the painting or sculpture. But that’s irrelevant. The art market doesn’t value the object you own, it values what the object represents.” Are we just trading art for its social proof, no matter the medium? [Read the original article →](https://www.theartnewspaper.com/2024/09/16/how-the-digital-art-world-is-finding-new-ways-to-expand-into-the-mainstream?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-20) --- *THE LAST WORD* --- Thanks for taking the time to explore this edition of "The Intersect." Sharing these stories and insights with you is something I genuinely enjoy. Your feedback and thoughts are always welcome, so feel free to share your take on these topics. I am particularly curious about whether we talk about AI too much, too little, or just the right amount. Can you let me know? Until next time, stay curious and creative. Warm regards, Juergen ### How AI Helped Bring Klimt Back URL: https://theintersect.art/issues/19/ Last updated: 2026-08-10T15:27:45.000Z Hi all, In this edition of The Intersect, I've curated stories from the immersive murals at Ibiza's BLOOP International Festival to the innovative mixed reality exhibition at London's Natural History Museum. We also cover the societal impact of art and tech, such as the climate protest at Amsterdam's Rijksmuseum and Yamaha's innovative use of wood scraps to create electric guitars. Plus, learn about an AI project aimed at reviving lost Gustav Klimt paintings. I hope you enjoy these stories that highlight how art and technology are continually evolving together. --- *PUBLIC ART* --- ![Enjoying Art and Technology st BLOOP International Festival of Proactive Art, Ibiza 2024](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_b74e0ba4-7efa-4f7d-94a5-3b80da4f3cf7.jpg) ## Enjoying Art and Technology st BLOOP International Festival of Proactive Art, Ibiza 2024 The BLOOP International Festival of Proactive Art in Ibiza, reported by GraffitiStreet, showcases how art and technology intertwine to create a vibrant cultural experience. This festival, running from August to mid-September 2024, features 60 murals and 200 artists, emphasizing inclusivity and accessibility in art. Proactive art, as highlighted by the festival, is not just about creating aesthetically pleasing pieces but actively engaging with social, political, and environmental issues. My take is that this movement shifts the focus from the final product to the process, encouraging participation and collaboration. The fact that the festival transforms the entire city into an outdoor gallery is particularly compelling, as it turns public spaces into platforms for artistic expression. > "Art and technology are the winning key available to administrations to increase quality tourism," says Matteo Amadio of Biokip Labs. This approach challenges traditional art paradigms, making art more relevant to broader audiences. The festival's use of an interactive app for augmented reality and NFTs pushes the boundaries of how we experience art. By redefining art's role in society, BLOOP Festival sets a new standard for cultural events. [Read the original article →](https://graffitistreet.com/enjoying-art-and-technology-st-bloop-international-festival-of-proactive-art-ibiza-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-19) --- *ART AND SPATIAL COMPUTING* --- ![NHM Launches Futuristic Mixed Reality Exhibition](https://theintersect.art/content/images/2026/07/Visions-of-nature-cuttlefish-story-_-Trustees-of-the-Natural-History-Museum-London-and-SAOLA-Studio-e1725549036919-1536x864.jpg) ## NHM Launches Futuristic Mixed Reality Exhibition London's Natural History Museum (NHM) has partnered with Microsoft and Saola Studio to launch "Visions of Nature," a mixed reality exhibition. According to the Museums Association, this immersive experience allows visitors to witness a futuristic 2125 world using Microsoft HoloLens 2 headsets. It highlights species like narlugas and natural landmarks, emphasizing our impact on the planet. In our past issues, we've recently covered the role of immersive installations in museums. It's exciting that NHM is hosting this in-house. > "I’m fascinated to see that London's Natural History Museum is making an attempt at actually hosting an immersive exhibition in-house and on location, instead of the tent city pop-ups like the traveling Van Gogh exhibition was." Kudos to NHM for embracing this innovative step forward. [Read the original article →](https://www.museumsassociation.org/museums-journal/news/2024/09/nhm-launches-futuristic-mixed-reality-exhibition/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-19) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Amsterdam’s Rijksmuseum Shutters Over Climate Protest](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_64657840-9205-476f-a09a-fdae00b7d46c.jpg) ## Amsterdam’s Rijksmuseum Shutters Over Climate Protest The Rijksmuseum in Amsterdam faced a temporary closure due to a demonstration by Extinction Rebellion, reports Artforum. The protest targeted the museum's sponsor, ING Group, for its investments in fossil fuels. Protesters blocked entry, demanding the museum cut ties with the bank, highlighting ING's significant role in climate change. When art intersects with activism, it creates a powerful platform for change. Museums, as cultural bastions, often walk a fine line between funding and ethical responsibility. This event prompts reflection on how cultural institutions align with societal values, and the potential impact of their financial partnerships. > "When Art meets Activism, what are your thoughts?" As the conversation continues, it’s clear that art has an undeniable role in shaping and challenging societal norms. How do we balance cultural preservation with pressing global issues? [Read the original article →](https://www.artforum.com/news/amsterdam-rijksmuseum-shutters-over-climate-protest-559047/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-19) ![AI or Not, Art Can’t Be Measured in Hours of Labour!](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2ec54f10-baa0-41c9-9f76-863f4dcc36a7.jpg) ## AI or Not, Art Can’t Be Measured in Hours of Labour! Matteo Wong from The Atlantic challenges the notion that art must be bound to laborious hours. In response to Ted Chiang's claim that AI cannot create art due to its detachedness from painstaking effort, Wong argues that art does not require visible labor to be meaningful. Here at "The Intersect," we question this sentiment. Whatever happened to the idea that one must spend 10,000 hours to master a skill—does that seem outdated in today's tech-driven era? Technology has redefined how we create and appreciate art, often shortening the path to mastery and expanding creative horizons. But appreciating traditional skills or learning an instrument from the ground up is no place for timesaving. > "Maybe you do not need to demonstrate hours of toil, make a lot of decisions, or even express thoughts and feelings to make art." But in art and tech, the process still matters, even if it's not the only measure of value. [Read the original article →](https://www.holo.mg/stream/the-atlantic-matteo-wong-ted-chiang-ai-art-labour/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-19) --- *DESIGN* --- ![Nosukaay: Weaving the Future with Tradition and Technology](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_960b4c1b-fe7c-4322-bb80-1c3dccfab2ca.jpg) ## Nosukaay: Weaving the Future with Tradition and Technology In a fascinating piece by African Digital Art, Diane Cescutti's project, Nosukaay, is highlighted for its innovative blend of West African weaving and digital technology. This interactive installation in Dakar uniquely combines traditional Manjacque loom techniques with modern computing, inviting viewers to engage deeply with both the art and its narrative. This project resonates with me because it's rare to see fabric arts so intricately connected to technology, especially emerging from Dakar. The fusion of tactile and digital elements offers a fresh perspective, enriching the dialogue between tradition and modernity in an unexpected way. > "Nosukaay invites us to reconsider the intersection of technology and tradition, challenging us to think about how ancient practices can inform and enhance our modern digital experiences." Nosukaay is a great example of how the cultural richness of West Africa can break our western preconceptions, and perhaps even inspire and reshape our technological narratives. [Read the original article →](https://www.africandigitalart.com/nosukaay-weaving-the-future-with-tradition-and-technology/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-19) --- *INTERACTIVE ART* --- ![You Can Finally Play as A Cockroach in VR with This Kafka-Inspired Game](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3d46e141-69e5-4403-bf0e-d5f004fe8529.jpg) ## You Can Finally Play as A Cockroach in VR with This Kafka-Inspired Game *Metamorphosis VR*, inspired by Franz Kafka's novella, lets players experience life as a cockroach. Carli Velocci's article on Digital Trends introduces this unique VR experience developed by Black Sun Productions. It offers a philosophical journey through a world of bugs, blending Kafka’s themes with engaging platformer gameplay. This game shifts away from the typical action-focused design, embracing artful storytelling and visual creativity. Its impressive VR artwork invites players to explore an absurd, yet thought-provoking environment. For those who appreciate Kafka's work, this game presents an intriguing intersection of literature and technology. > "I may not be much of a gamer, but I sure did read Kafka when I was younger. The idea that the art of game design doesn't necessarily have to be a 'shoot 'em up' is immensely appealing to me, and the VR artwork in this game is pretty amazing." *Metamorphosis VR* is available on Meta Quest 2 and Quest 3. [Read the original article →](https://www.digitaltrends.com/gaming/metamorphosis-vr-meta-quest-release/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-19) --- *Q+ART & PODCAST INTERVIEWS* --- ![Nastassja Swift: How Art Elevates Our Collective Narrative [Podcast]](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_78d61f68-15b3-42a5-bf40-3557ce98b5dc.jpg) ## Nastassja Swift: How Art Elevates Our Collective Narrative \[Podcast\] The recent NOT REAL ART podcast interview by host Scott "Sourdough" Power celebrates the creative world of Nastassja Swift, a multidisciplinary artist who explores identity and cultural heritage through felted wool sculptures and performance art. Proud to be on the team for the yearly grant, I resonate deeply with the concept of expanding our definition of creativity. Swift's work exemplifies this expansion, merging traditional craft with contemporary themes. > "Nastassja's felted wool sculptures not only showcase technical skill but also bring forward conversations about race, identity, and belonging in modern society." Technology has many definitions. Utilizing fabric and felt to create incredible pieces is a form of technological innovation. It doesn't have to be high-tech, cloud-based, or AI-driven to be fascinating. Swift's journey is a reminder for me, insofar that innovation in art isn’t always about new tools — but new perspectives. [Read the original article →](https://notrealart.com/nastassja-swift/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-19) --- *SUSTAINABILITY IN ART AND TECH* --- ![Yamaha Turns Instrument Manufacturing Wood Scraps Into Upcycled Electric Guitars](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_62d08a66-826c-4ec8-942e-6bdcdf25e0f4.jpg) ## Yamaha Turns Instrument Manufacturing Wood Scraps Into Upcycled Electric Guitars Yamaha's innovative project, as reported by Designboom, transforms leftover wood from marimbas and pianos into electric guitars. This initiative not only reduces waste but also showcases the unique qualities of each wood type through scientific analysis. While the guitars are visually stunning, I'm pondering the sound aspect. Tonewoods play a crucial role in an acoustic guitar's voice, and I'm curious about how these upcycled materials compare to traditional ones for building electric guitars. > "Will these sound different, and have enough sustain?" Anyway Yamaha's approach is a cool blend of sustainability and craftsmanship. [Read the original article →](https://www.designboom.com/design/yamaha-electric-guitar-craft-upcycled-instrument-manufacturing-wood-09-07-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-19) --- *EXHIBITIONS & EVENTS* --- ![When Algorithms Curate Art: The Nasher Museum’s Experiment](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cd448d87-a664-4bea-87d1-bd59fb4443d3.jpg) ## When Algorithms Curate Art: The Nasher Museum’s Experiment The Nasher Museum of Art at Duke University embarked on an intriguing project where algorithms took on the curatorial task, as reported by MuseumNext. This endeavor, born from a playful suggestion during an exhibition gap, evolved into a serious exploration of AI's role in art curation. Marshall Price, Chief Curator, and his team decided to let AI take charge, challenging the traditional human-led curation process. For me the story is refreshing, especially considering how large institutions often cling to convention. I have lots of friends who worked in museums where the leadership is not as flexible. The Nasher’s willingness to experiment like this is a bold move, showing that even in typically rigid spaces, innovation can thrive. Perhaps this indicates the evolving mindset within art institutions, and it hints at a more dynamic future for art curation. > “We thought, why not? It was an opportunity to explore AI’s potential in a space that has always been dominated by human intuition and expertise.” Maybe this experiment at the Nasher showcases art's more fluid and dynamic future, where technology and creativity harmoniously blend? [Read the original article →](https://www.museumnext.com/article/when-algorithms-curate-art-the-nasher-museums-ai-experiment/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-19) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Here’s How AI Helped Recover Lost Paintings by Gustav Klimt](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_da2f07ab-7617-4eb2-b949-0bf7fad3c49e.jpg) ## Here’s How AI Helped Recover Lost Paintings by Gustav Klimt A fascinating article by The Collector explores how Google's AI has ventured into art restoration, attempting to resurrect Gustav Klimt's lost *Faculty Paintings*. These works, destroyed in 1945, were controversial yet significant, challenging the ideals of their time. Google's collaboration with the Leopold Museum aims to piece together Klimt's intricate vision, utilizing AI to fill the gaps left by history. At The Intersect, we find the use of AI in art restoration particularly noteworthy. While AI applications are everywhere, this endeavor stands out for its potential to preserve and enhance classic art. As a Klimt enthusiast who once owned an original print adorned with his gold leaf designs, I am thrilled to see technology breathe life back into his masterpieces. > "Advancements for preserving and enhancing the beauty of classic artworks are always welcome news for me." Art and technology continue to intertwine in fascinating ways. [Read the original article →](https://www.thecollector.com/ai-recover-gustav-klimt-lost-paintings/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-19) --- *THE LAST WORD* --- Thanks for spending some time with this edition of The Intersect. I hope these stories provide fresh perspectives and inspiration for your own creative endeavors. If you have any thoughts or feedback, I'd love to hear them. Let's continue exploring the fascinating intersection of art and technology. Best, Juergen ### The Shortened Lifespan of Everything Digital URL: https://theintersect.art/issues/18/ Last updated: 2026-08-10T15:27:44.000Z Hi everyone, This week's curation explores the world of digital art and its intersection with traditional practices. We look at Art Dubai Digital's innovative showcases, Nike's newly unveiled design archive, and the role of immersive experiences in museums. Additionally, we examine how gaming platforms are becoming new canvases for contemporary artists. Join me in these compelling stories that highlight the evolving relationship between art and technology. --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Exploring the Future of Digital Art: Art Dubai Digital's Fourth Year](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_29440570-0268-4eb4-b96e-7c7618a6bdc0.jpg) ## Exploring the Future of Digital Art: Art Dubai Digital's Fourth Year Digital natives, having grown up with technology, see digital tools as a natural part of their creative process. The article from .ART Domains, featuring Gonzalo Herrero Delicado's insights, underscores this trend, highlighting how Art Dubai Digital's fourth year showcases diverse digital mediums like AR/VR and NFTs. Delicado's efforts aim to position Dubai as a global hub for digital culture. Our take? Traditional artists, grounded in classical methods, often view digital art with skepticism, questioning its authenticity and skill. This gap underscores the need for hybrid approaches and open dialogues. > "Digital art isn't just about NFTs; it spans installations, film, videos, and VR. We're showcasing this diversity at Art Dubai Digital, involving both commercial galleries and digital art platforms." Ultimately, as a traditional artist myself, I keep working on bridging these perspectives. [Read the original article →](https://www.art.art/blog?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-18) --- *DESIGN* --- ![Nike Has a Secret Design Archive. This New Museum Show Takes You Inside of It.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9c472854-6011-499f-94d8-ee51f51ef103.jpg) ## Nike Has a Secret Design Archive. This New Museum Show Takes You Inside of It. Nike's secretive sneaker archive has been unveiled in a new exhibition at the Vitra Design Museum, as reported by Fast Company. Curator Glenn Adamson explores Nike's rich design history from its beginnings in 1964 to the present day. The exhibition showcases Nike's blend of creativity and sports innovation, featuring rare prototypes and iconic designs. Our take? Sneaker culture has always been a reflection of both style and innovation, and Nike's journey illustrates this beautifully. The evolution of their designs reflects broader cultural shifts, and the ads are as fun and innovative as the sneakers themselves. They capture a playful spirit that resonates with sneaker enthusiasts and art lovers alike. > "Just when everyone’s counted Nike out—boom—we do what we’ve done repeatedly over our 50 years, which is something bold, new, disruptive, and we change the game," said Nike CEO John Donahoe. This exhibition is a must-see for anyone fascinated by the intersection of art and tech. Or at least anyone wearing sneakers. [Read the original article →](https://www.fastcompany.com/91179346/nike-secret-design-archive-vitra-museum-show?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-18) --- *INTERACTIVE ART* --- ![How Should Traditional Museums Think About Immersive Experiences?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9ed47066-0de3-4668-a2d9-dd74e10be9cb.jpg) ## How Should Traditional Museums Think About Immersive Experiences? Art museums face a challenge in deciding whether to invest in immersive experiences, as detailed in a recent ARTnews article. With immersive art generating significant revenue globally, museums must weigh the potential benefits against the costs and physical space requirements. The article highlights that while immersive exhibitions are popular, they present unique logistical hurdles that traditional museums must overcome. In Sarasota, the Van Gogh exhibition was housed in a temporary structure, resembling a circus tent. Such installations are transient and costly, making it understandable why museums hesitate. The Sphere in Las Vegas stands as a rare permanent space for immersive art. This raises the question of whether more museums should follow suit or if the market isn't quite ready for such a commitment. > "I wonder whether it makes sense for museums to have a permanent immersive exhibition hall, like the Sphere in Las Vegas, or not." Can museums find the right balance between traditional and immersive exhibits? [Read the original article →](https://www.artnews.com/art-news/opinion/immersive-art-industry-and-museums-1234715051/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-18) ![Art Plays Games](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_e8a8a3a9-2e1a-4e23-8b4d-9b73475a3e04.png) ## Art Plays Games Mike Pinnington's article on The Double Negative discusses the evolving relationship between contemporary art and gaming. The exhibition "Art Plays Games" at FACT Liverpool exemplifies this shift, showcasing works by artists who use gaming platforms to explore complex themes. The increasing use of gaming platforms by artists is fascinating. It shows how technology can serve as a new medium for artistic expression, breaking traditional boundaries and creating immersive experiences. This trend underscores the reciprocal influence of art and tech, where advancements in one field drive innovation in the other. > "Anybody who has played in earnest has a game they’ll have concluded to be a work of art." Gaming’s rise in cultural status and its adoption by contemporary artists highlight its potential as a significant art form. [Read the original article →](https://www.thedoublenegative.co.uk/2024/09/an-intriguing-propositionart-plays-games/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-18) --- *FEATURED* --- ![Accidental Aesthetics on Medium](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_8c14b346-c1eb-44be-a864-6de618b3f418.png) ## Accidental Aesthetics on Medium A Personal Project: Join my whimsical journey through "[Accidental Aesthetics](https://cur.at/UrIpWeB?ref=theintersect.art)," where I explore the unique and unexpected beauty in everyday scenes. From hidden architectural gems to serendipitous street art, each story is a visual and narrative adventure inspired by the style of Wes Anderson. > Follow me on Medium for detailed, narrative-driven content that captures the essence of symmetry, serendipity, and hidden wonders. The tech angle with my art, more specifically photography, is that I used to be a paid photographer lugging around super heavy DSLR equipment. I have weaned myself off of this equipment completely and am now trying to produce large format art prints shot only on an iPhone. So, I'm only traveling with an iPhone these days. That's fundamentally the technology challenge of using a number of different apps and AI tools during this exploration: for perspective correction, for introducing motion without a tripod, and for trying to make real the promise of iPhone photography resulting in artwork that can be both fun, yet taken seriously. Cheers and thanks for checking it out, Juergen [Read the original article →](https://medium.com/accidental-aesthetics?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-18) --- *ART & SCIENCE* --- ![New images of deep sea wonders are surprisingly adorable](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_35f3577b-4059-4e5e-b957-6202597f81f0.jpg) ## New images of deep sea wonders are surprisingly adorable Laura Baisas at Popular Science highlights an intriguing deep-sea expedition that uncovered some surprisingly photogenic marine life, from a rare Promachoteuthis squid to the internet-famous "Casper" octopus. This expedition, led by the Schmidt Ocean Institute, brings much-needed attention to the vibrant ecosystems thriving in the depths of the Southern Pacific. > "Since so little is known about this region, a lot of what we found out there is new to science, and these benthic communities are surprisingly diverse and healthy," says Tomer Ketter of the Schmidt Ocean Institute. Our take on “cute” is a bit more ambivalent. While these deep-sea creatures are fascinating, there's a tendency for us to impose human characteristics on them—a concept known as anthropomorphism. It's a reminder of our myopic view as humans. It's worth pondering how our perceptions shape our interactions with the natural world. Still, those images are undeniably cool! [Read the original article →](https://www.popsci.com/environment/deep-sea-cute/?ref=thefuturist&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-18) --- *TECH IN ART EDUCATION* --- ![Do Children Dream of AI Sheep in Museums? (not nightmares)](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_efdab8d1-e2be-4efa-879b-e3b46810d55f.jpg) ## Do Children Dream of AI Sheep in Museums? (not nightmares) Two stories from MuseumNext's "Do Children Dream of AI Sheep in Museums? (not nightmares)" explore the unpredictable relationship between young people and AI in museum settings. These narratives open up discussions on how technology is reshaping interactions in spaces traditionally focused on history and art. Our take on this touches on a disturbing question: > "Could children start trusting AI chatbots more than their parents?" As AI becomes more integrated into educational experiences, it challenges the dynamics of trust and authority. Exploring these relationships invites us to rethink how we guide children through an AI-driven world. [Read the original article →](https://www.museumnext.com/article/do-children-dream-of-ai-sheep-in-museums-not-nightmares/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-18) ![Enhancing Art Education with Storytelling and Multimedia](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f7ef5f65-e7da-4ad4-816c-b3bce83b8bf0.jpg) ## Enhancing Art Education with Storytelling and Multimedia ArtCentrica's article highlights their online platform aimed at transforming art education, offering access to over 8,000 high-res artworks. The platform fosters an interactive and interdisciplinary learning experience. As someone who produces podcasts, the combination of storytelling and multimedia resonates deeply with me. > "ArtCentrica’s approach aims at developing soft skills interactively in every lesson." This integration of storytelling into art education is particularly compelling. It mirrors the power of narratives we leverage in our podcasts, making complex subjects more accessible and engaging. ArtCentrica stands out by allowing teachers and students to create immersive, multimedia-rich lessons directly on the platform. [Read the original article →](https://www.artcentrica.com/en/homepage-eng-2/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-18) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Endemic Obsolescence: The Shortened Lifespan of Digital Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_73042478-579f-4f73-aa00-22a1f6a3661e.jpg) ## Endemic Obsolescence: The Shortened Lifespan of Digital Art Digital artwork has a shorter life than might be expected. Reviewed in The Art Newspaper, "Art Decoded: Shortened Lifespan Digital Art" examines the impermanence of digital art, raising valid concerns about relying on third-party platforms for preservation. The article highlights the fragility of digital mediums compared to traditional archival methods. Trusting third-party providers to maintain digital platforms indefinitely is naive. The reality is that these providers might not last as long as traditional archival print and paper methods. This raises significant questions about the future of art preservation. > “My view: The much more likely scenario is that the life expectancy of third-party providers is fewer years and fewer decades than the archival print and paper used to be.” The article makes us rethink our approach to preserving digital art. How do we ensure its longevity in a rapidly changing technological landscape? [Read the original article →](https://www.theartnewspaper.com/2024/03/15/art-decoded-shortened-lifespan-digital-art?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-18) --- *FUTURE TRENDS IN ART AND TECH* --- ![ArtistBnB: Affordable Travel Accommodations for Creatives](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_9939e2fc-55e1-4dd2-a622-f846e7f40484.jpg) ## ArtistBnB: Affordable Travel Accommodations for Creatives [Artsted](https://cur.at/fkB0EyA?ref=theintersect.art) has announced the launch of artistBnB, a platform designed specifically for creatives to find affordable and suitable studios or accommodations while traveling. This platform aims to address the unique challenges faced by artists when seeking spaces that support their creative work. Unlike traditional booking platforms, artistBnB offers a more cost-effective solution tailored to the needs of the art community. The idea of an AirBnB for artists is a brilliant and fun application of tech. It solves a real problem by providing a network of spaces equipped with the necessary facilities for creatives. This approach not only makes travel more affordable but also fosters a supportive environment for artists to work and collaborate. > "ArtistBnB represents more than just a convenient solution for travel accommodations – it embodies Artsted's commitment to fostering sustainability within the art space." Sign up for the artistBnB waitlist to be among the first to experience this innovative platform. [Read the original article →](https://docs.google.com/forms/d/e/1FAIpQLSeZ2NHt-bTjHXlWVF3QRUHQO5%5FHlWqMBNAdCZhzbM7xXEsYXg/viewform?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-18) ![Can Internet-Born Platforms Fashion a Print Market Fit for Gen Z Collectors?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_47017d84-4ccd-431e-93f3-e02a1a9b3602.jpg) ## Can Internet-Born Platforms Fashion a Print Market Fit for Gen Z Collectors? The Art Newspaper's article "Digital Platforms Expand Print Market for Gen Z Collectors" explores how digital platforms are driving Gen Z's interest in print art. It suggests that this trend could rejuvenate the traditional art market. But can the print-based market truly rely on Gen Z alone? In March, the Amsterdam-based Avant Arte, which works with contemporary artists to produce affordable editioned prints—with an average price this year of around €2,000—published a report examining the collecting behaviour of its community. So, who are the New Generation of Art Collectors? Almost half are aged 18-39, while 80% are younger than 50—and the report finds that 75% are looking for prints. There's a question of sustainability. Gen Z's current interest might be more about decorating their first homes and apartments. When they age, will they continue buying print art, or will their tastes evolve? > "Is it just that Gen Z is of a younger age and purchasing print art because they have homes, apartments, and other places to decorate, whereas an older demographic, presumably also a richer demographic, does not?" This trend might be a temporary boost rather than a long-term solution for the print market? [Read the original article →](https://www.theartnewspaper.com/2024/08/16/digital-platforms-expand-print-market-gen-z-collectors?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-18) --- *THE LAST WORD* --- Thank you for exploring these stories with me. Your feedback and insights are always welcome, so please share your thoughts. I hope you find this content both informative and thought-provoking. Keep engaging with the intersections of creativity and technology. Your participation makes this journey meaningful. Best, Juergen ### AI Learns to Describe What It Can't See URL: https://theintersect.art/issues/17/ Last updated: 2026-08-10T15:27:43.000Z Hi all! This time, we’re looking at how art and technology are stepping up to tackle societal challenges, from the climate crisis to AI's societal impacts. We also get into Adobe's latest AI photo editing tool, a satirical project on Elon Musk, and a unique fashion-tech collaboration. You'll also find insights on the growing prominence of digital art, AI integration in art education, and innovative approaches to art preservation. This edition is packed with straightforward and thought-provoking content that bridges the gap between creativity and technology. --- *PUBLIC ART* --- ![Elon Magazine’s Surreal Imagery & Investigative Research Uncover Musk’s Media Spectacles](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_735e7bc9-ced9-43a3-86e9-cf04435e8e0f.jpg) ## Elon Magazine’s Surreal Imagery & Investigative Research Uncover Musk’s Media Spectacles Elon Magazine is featured in a designboom article, bringing attention to this Austin- and Berlin-based GIGACITIES COLLECTIVE project. This isn't your typical celebrity magazine; it's a critical art project dissecting the media's portrayal of Elon Musk. The publication takes cues from satirical and activist sources like Adbusters, using AI tools to craft surreal imagery. This concept reminded me of The Onion, a publication I’ve always enjoyed for its satirical spin on news. Just like The Onion, Elon Magazine uses humor and surrealism to critique and entertain, offering a fresh perspective on a figure like Musk. > "This article gave me a chuckle because it's sort of the same concept, just about Elon Musk." Elon Magazine's blend of satire and research offers a thought-provoking look at media spectacles, much needed in our fast-paced digital age. [Read the original article →](https://www.designboom.com/art/elon-magazine-surreal-imagery-investigative-research-musk-media-spectacles-gigacities-collective-08-26-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-17) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![From Hope to Action](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_bdda9fde-28e7-4bfe-b284-d59253fa9203.jpg) ## From Hope to Action The Ars Electronica Theme Symposium, as detailed in the original article, focuses on how creativity and technology can address societal challenges. The event brings together experts to discuss innovative solutions for a sustainable future. This year's theme emphasizes practical work by companies and artists tackling issues like the climate crisis and AI's impact on society. Here at The Intersect, we believe that art and technology hold the key to fostering hope in these challenging times. They offer a platform for creativity to challenge the norms and pave the way for change. As we navigate these complex issues, it's crucial to recognize the potential of these fields in shaping a better future. > "Because it can break the existing monopoly on our imagination, hope becomes a necessary condition for radical change." Hope, fueled by creativity and innovation, remains vital as we strive for a brighter tomorrow. [Read the original article →](https://ars.electronica.art/aeblog/en/2024/08/26/from-hope-to-action/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-17) --- *PHOTOGRAPHY* --- ![Adobe Drops ‘Magic Fixup’: Intended as an AI Breakthrough in the World of Photo Editing](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_156abd21-b3aa-49e2-b154-adc5c452d933.jpg) ## Adobe Drops ‘Magic Fixup’: Intended as an AI Breakthrough in the World of Photo Editing Adobe's latest innovation, Magic Fixup, covered by Michael Nuñez for VentureBeat, introduces an AI-powered tool that learns from video data to enhance photo editing. This tool is poised to reshape creative processes across industries, offering both professionals and amateurs advanced image manipulation capabilities. Our take is that while Magic Fixup opens exciting possibilities, it also raises concerns. The ease of realistic image manipulation could lead to misuse. Adobe will likely need to implement safeguards, possibly digital watermarking, to prevent misinformation and digital deception. > "Adobe will likely face pressure to implement safeguards and possibly some form of digital watermarking to mitigate potential misuse." As this technology evolves, the creative community must stay informed and engaged with these developments to balance innovation with ethical responsibility. [Read the original article →](https://venturebeat.com/ai/adobe-drops-magic-fixup-an-ai-breakthrough-in-the-world-of-photo-editing?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-17) --- *FASHION* --- ![TTSWTRS Stages a Futuristic Opera: A Fusion of Fashion and Tech](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_73139560-df96-478d-bcf2-ba87ba2cbaa9.jpg) ## TTSWTRS Stages a Futuristic Opera: A Fusion of Fashion and Tech TTSWTRS, a Ukrainian label known for mixing fashion and art, is debuting its Fall-Winter 2024 collection, "Opera." As reported by Kaltblut Magazine, the collaboration with tech company Genera introduces AI technology that allows customers to virtually try on clothes with digital twins. Creating a virtual version of oneself just to try on clothes seems interesting and appealing to some, but it's a consumer behavior that may not resonate with everyone, especially as our preferences evolve with age. > "I’m not sure how much art is in this, but would you create a virtual clone of yourself just to try on clothes and fashions? " Despite the technological advancements, I find myself filing this under 'I may be too old for this...' LOL [Read the original article →](https://www.kaltblut-magazine.com/ttswtrs-stages-a-futuristic-opera-a-fusion-of-fashion-and-tech/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-17) --- *EXHIBITIONS & EVENTS* --- ![PIVOTAL: Digitalism to present the very best Digital Art being created in Britain.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3a7920b9-e112-4672-b518-981bcd023f45.jpg) ## PIVOTAL: Digitalism to present the very best Digital Art being created in Britain. The British Art Fair 2024 is spotlighting digital art with "PIVOTAL: Digitalism," a section dedicated to showcasing Britain's top digital artists. As reported by FAD Magazine, this marks a groundbreaking shift in the art fair's history, highlighting the growing significance of digital mediums in contemporary art. Curated by Rebekah Tolley-Georgiou, the exhibition features works that integrate AI, AR, and VR, revealing how these technologies are reshaping artistic expression. With this surge in AI-infused art, there's a growing conversation about its place in the art world. My reaction is mixed; nearly every piece seems to include an AI element, raising questions about whether this trend will soon become the norm. > "I wonder, when are we ever going to stop labeling art as having been produced, augmented, or helped by AI?" As digital art becomes more integrated, how will we redefine artistic creation? [Read the original article →](https://fadmagazine.com/2024/08/27/pivotal-digitalism-to-present-the-very-best-digital-art-being-created-in-britain/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-17) ![STARTS 2024 Exhibition: Art as a Catalyst in the Innovation Process](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a9fe4abc-088f-428e-879e-d677b960183e.jpg) ## STARTS 2024 Exhibition: Art as a Catalyst in the Innovation Process The STARTS 2024 Exhibition, as reported by Ars Electronica, explores how art serves as a catalyst in the innovation process. It showcases projects that redefine the relationship between technology and society, emphasizing the synergy between scientific exploration and artistic creativity. I find exhibitions like these refreshing. They challenge conventional views of technology and encourage collaboration between artists and the private sector. It's fascinating how these events can reshape our understanding and create new dialogues between different communities. > "Art and exhibitions that focus on influencing how technology is viewed hold the power to foster collaboration and experimentation between the private sector and the world of art and culture." Such initiatives remind us of the transformative potential when art and technology intersect, offering fresh perspectives and bold innovations. [Read the original article →](https://ars.electronica.art/aeblog/en/2024/08/24/starts-2024-exhibition-art-as-a-catalyst-in-the-innovation-process/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-17) --- *TECH IN ART EDUCATION* --- ![School Is Back in Session, and So Are AI Art Classes](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_98923a09-2365-4688-a833-04768fd42b68.jpg) ## School Is Back in Session, and So Are AI Art Classes Isa Farfan's recent piece on Hyperallergic dives into how universities like Ringling College of Art and Design are integrating AI into their art courses. Ringling, known for its ties to Disney animation, has introduced an AI undergraduate certificate program. Educators like Rick Dakan are pushing students to use AI to enhance their creativity rather than replace it. Living in Sarasota Bradenton, I often attend Ringling’s exhibitions and know many of their talented staff. I'm curious to see firsthand how AI influences their student work, and to discuss it with both teachers and students. > “You’ll quickly learn that AI is not as good as you at writing if you’re a good writer,” says Dakan, highlighting the tool's limitations, but also pointing out valid alternative use cases. I myself remain skeptical but open-minded about AI in art. If there's human intent, thoughtfulness, and social commentary, I'm willing to consider it. [Read the original article →](https://hyperallergic.com/school-is-back-in-session-and-so-are-ai-art-classes/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-17) ![JKU MEDCampus: Art + Science – Ars Electronica Festival 2024 – HOPE who will turn the tide](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_69e78138-2164-461a-a420-ad504e9f0b41.jpg) ## JKU MEDCampus: Art + Science – Ars Electronica Festival 2024 – HOPE who will turn the tide The Ars Electronica Festival 2024 at JKU MEDCampus highlights the synergy between art and science, blending creative and scientific inquiry to drive innovation. This piece from Ars Electronica underscores the role of interdisciplinary collaboration in pushing boundaries. What I find particularly engaging is the connection between art and science. Technologies like the Virtual Anatomy stereographic space exemplify this, where medical students use 8K quality visuals for real-time surgery planning. > "Whenever I come across something that illustrates this connection, I love to explore more." It's refreshing to see focus not just on the tech aspect but also on how scientific challenges can inspire artistic creativity. This balance is often overlooked. [Read the original article →](https://ars.electronica.art/hope/en/jku-medcampus/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-17) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Project Aims to Transform Art Preservation with Color Reconstruction](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2ddcda9a-8604-4a6a-a52f-c421b0c583a5.jpg) ## Project Aims to Transform Art Preservation with Color Reconstruction For the 12 organizations involved in PERCEIVE, color reconstruction with aid of rapidly evolving artificial intelligence tools is becoming reality. We recently visited the Munch Museum, and the lengths to which they go to preserve Munch's original colors and paintings are extraordinary. However, according to Munch's own notebooks, the colors used to be even more vibrant than they are now. > "Actually seeing the difference between a restored piece of art that reflects what the artist originally intended, and the sadly faded paintings that you see in some museums, is pretty striking." So, I love this project, and I love this application of technology for art restoration. [Read the original article →](https://www.artnews.com/art-news/news/the-scream-art-preservation-artificial-intelligence-color-reconstruction-1234714958/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-17) --- *FUTURE TRENDS IN ART AND TECH* --- ![Art Accessibility: AI Audio Guides Provide In-Depth Image Descriptions for the Blind](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1d0efad9-dbb6-49c3-9259-fb2a9f973045.jpg) ## Art Accessibility: AI Audio Guides Provide In-Depth Image Descriptions for the Blind The Verge recently highlighted an exciting development with Be My AI, an app created by Be My Eyes and OpenAI. This app uses ChatGPT-4’s vision model to provide detailed descriptions of images, significantly enhancing art interaction for visually impaired individuals. While it occasionally errs, like misidentifying a cyanotype as black-and-white, its ability to engage users in meaningful discussions about art is transformative. I love this concept for both blind artists and art lovers. Image descriptions add incredible depth to experiencing art, enriching understanding beyond mere visuals. During recent trips to Norway and Great Britain, I found AI-generated audio guides based on image descriptions more fulfilling than standard museum guides. They offered deeper insights and historical context, which paid guides often lacked. > "Compared to most museum's audio guides, I got much more in-depth and educational content from having an AI such as this." Harnessing AI's potential in art access could level-up how we all experience and appreciate art. [Read the original article →](https://www.artnews.com/art-in-america/features/chatgpt-4-bemyai-visual-culture-blindness-1234715473/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-17) --- *THE LAST WORD* --- Thanks for taking the time to explore these stories with me. Your feedback and insights mean a lot, so feel free to share your thoughts. I hope you find this content both informative and inspiring. Until next time, keep pushing the boundaries of creativity and technology. Your engagement makes this journey worthwhile. Best, Juergen ### Decentering the Human, One Update at a Time URL: https://theintersect.art/issues/16/ Last updated: 2026-08-10T15:27:42.000Z Hi all: Welcome back to The Intersect. This edition brings you some fascinating articles on how art and technology are shaping each other. From virtual galleries and AI in art to augmented reality murals, there's a lot that recently caught my eye. --- *DATA DRIVEN ART* --- ![When Science and Art Come Together: The JKU Linz at the 2024 Ars Electronica Festival](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ad18205a-d648-4fe9-acdb-dbf6ed422c29.jpg) ## When Science and Art Come Together: The JKU Linz at the 2024 Ars Electronica Festival Science and art merge at the 2024 Ars Electronica Festival in Linz, showcasing eight projects from JKU scientists and artists. As highlighted in a guest article by Johannes Kepler University Linz, these installations aim to tackle global challenges through a mix of scientific and artistic perspectives. From my POV, the projects pose intriguing questions about how scientific concepts can become more accessible through art. And I wonder how artistic visions remain prominent, not overshadowed by technical details. > "How do these installations make complex scientific concepts accessible to artists and the general public, and what methods are used to ensure that the artistic elements are not overshadowed by the scientific content?" My hope is that experiencing these art-science installations will inspire artists in their own practice and give rise to opportunities for collaboration on scientific themes. [Read the original article →](https://ars.electronica.art/aeblog/en/2024/08/14/when-science-and-art-come-together-the-jku-linz-at-the-2024-ars-electronica-festival/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-16) --- *PUBLIC ART* --- ![The Benefits of Augmented Reality Murals](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_bc5efb13-07fa-41cd-99ba-cd655d0e6078.jpg) ## The Benefits of Augmented Reality Murals Augmented Reality (AR) murals, as highlighted by BrandXR, are revolutionizing how we engage with public art. By merging digital and physical realms, these murals offer immersive experiences that captivate audiences. Brands and communities can leverage AR murals for enhanced visibility and deeper engagement, transforming simple walls into interactive displays that resonate with viewers. I love the idea of "augmented reality" murals and hope that more stakeholders, municipalities, and artists will adopt this concept. AR murals not only enhance public spaces but also provide unique opportunities for education and community engagement, creating memorable and impactful experiences for all. > "These immersive experiences engage multiple senses, making the brand message more impactful and memorable." AR murals have the potential to captivate audiences and create lasting impressions, making them invaluable in today's digital age. [Read the original article →](https://www.brandxr.io/the-benefits-of-augmented-reality-murals?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-16) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Decentering the Human](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7ce9cf25-3663-4cfe-8cb7-26c5dfe72a10.jpg) ## Decentering the Human Kadine James, in conversation with Alex Estorick, explores the shifting dynamics of digital identity and virtual spaces. Featured in the article "Decentering the Human," she discusses the evolution away from the metaverse and toward richer, immersive experiences. James has actively built environments like the Immersive Kind Gallery on platforms such as Oculus, highlighting the potential for virtual art spaces. I found this perspective on a Post-Web 3 reality illuminating, especially the notion that virtual galleries are continuing and may have a promising future. These spaces offer new ways for users to acclimate to digital environments through familiar elements, like skeuomorphism, which eases the transition into more abstract virtual realities. > "The technologies we work with at Artificial Rome have the potential to create more inclusive, immersive, and meaningful art-driven experiences for society and culture." Is this too "fru-fru" for "real artists"? To me, the potential for positive impact in digital art spaces is exciting. [Read the original article →](https://www.rightclicksave.com/article/decentering-the-human-kadine-james-interview?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-16) ![A.I. Dominated the Conversation at Christie’s Art + Tech Summit](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7ce11b2f-c4a1-46b0-bf42-eac7b2f3f400.jpg) ## A.I. Dominated the Conversation at Christie’s Art + Tech Summit At Christie’s Art + Tech Summit, AI's hype dominated discussions, as reported by Shanti Escalante-De Mattei in ARTnews. While tech icons like Kevin O’Leary and Steve Wozniak shared their skepticism and experiences, the narrative noticeably lacked artist representation. Where are the artist's voices in events like this? Kevin O'Leary and Woz are great from the tech side, but who represents the artists? > "Pay more attention to business ethics," Wozniak emphasized, reflecting broader concerns about AI’s impact on jobs and ethics. And that's fine, but tech narratives often overshadow, leaving creatives sidelined. Who will ensure artists are heard, and what would the artist community have to say in such a forum? [Read the original article →](https://www.artnews.com/art-news/news/artificial-intelligence-christies-art-tech-summit-1234712444/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-16) ![An Ever-Changing Medium](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_fc8908c1-591d-4f96-b9ac-ce82088abeed.jpg) ## An Ever-Changing Medium Aesthetica Magazine explores the evolving relationship between art and technology through exhibitions featuring artists like Jenny Holzer, Random International, and Sougwen Chung, who integrate technology into their creative processes. I like to think about the historical evolution of art alongside technological advancements, with the fusion of art and tech not being a recent phenomenon. The term "technology" itself, rooted in the ancient Greek word "techne," meaning art, skill, or craft, underscores this longstanding connection. Historically, artists have adapted to and embraced new technological tools, from the Claude glass of the 18th century to today's digital and AI innovations. For instance, the "Electric Dreams" exhibition at Tate Modern showcases early innovators of optical, kinetic, and digital art, highlighting how artists from the 1950s and 60s used new processes and motorized components. Similarly, "Message from Our Planet" at MOCA features digital and electronic artworks that communicate with future generations, offering a time capsule of contemporary life. > "It's interesting to consider the intersection of art and technology from a perspective before the internet existed." Artists have long utilized available technology to comment on contemporary life, and these exhibitions showcase how today's creators continue to challenge and redefine the boundaries of art through innovative technological means. [Read the original article →](https://aestheticamagazine.com/an-ever-changing-medium/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-16) --- *AI IN VISUAL ARTS* --- ![Artists Celebrate as Copyright Infringement Case Against AI Image Generators Moves Forward](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_847f3e0f-a3f2-4788-a3c0-128b3c2854a5.jpg) ## Artists Celebrate as Copyright Infringement Case Against AI Image Generators Moves Forward Artists are celebrating a recent ruling that allows their copyright infringement lawsuit against AI image generators to move forward. As reported by VentureBeat, the case will now enter the discovery phase, providing a chance to reveal more about the training datasets and methods used by these AI companies. Our perspective embraces the discovery phase. It promises to clarify the workings of these AI tools. It's not simply about copying artworks. However, using artists' names and specific elements of their works for training might indeed breach copyright laws. > "I welcome this going into discovery phase, in the hopes of better explanations of how these tools actually work. Hint: it’s not a simple copying of artworks." The outcome of this case could redefine how AI models interact with copyrighted material. [Read the original article →](https://venturebeat.com/ai/artists-celebrate-as-copyright-infringement-case-against-ai-image-generators-moves-forward?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-16) --- *PHOTOGRAPHY* --- ![Camera App Halide’s Latest Update Adds an Option for ‘Zero-AI’ Image Processing](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d78b8e87-7b99-41bf-a3eb-7dff8e78347f.jpg) ## Camera App Halide’s Latest Update Adds an Option for ‘Zero-AI’ Image Processing Halide, the iOS photography app, has introduced a feature called Process Zero, which offers photographers the option to bypass AI processing. According to TechCrunch, Lux Optics, the company behind Halide, believes this can serve as a new creative tool for users seeking a different approach to photography. This development is intriguing because it contrasts the current trend where AI is deeply integrated into camera technology, from DSLRs to smartphones. Android devices have even included features allowing users to add themselves into photos. AI has become a significant part of how cameras function, enhancing convenience and creativity. > "For me, it's really interesting that we're going back to simpler, AI-free raw sensor data being captured." Exploring AI-free photography could remind us of traditional digital image processing. Is there a market for this? [Read the original article →](https://techcrunch.com/2024/08/14/camera-app-halides-latest-update-adds-an-option-for-zero-ai-image-processing/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-16) --- *Q+ART & PODCAST INTERVIEWS* --- ![NOT REAL ART 2024 Grant Winners](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_08cd4af9-2ed7-4b75-90c8-ed8cf44f2ad9.jpg) ## NOT REAL ART 2024 Grant Winners Sponsored by the non-profit arterial.org, this program, founded in 2019, aims to empower contemporary artists by awarding six recipients $2,000 each. Artists gain much more than financial support; they receive publicity through interviews on the NOT REAL ART podcast and features in the journal and blog. Amazing work is coming through this artist grant program put on by NOT REAL ART and sponsored by the non-profit arterial.org. I'm very proud to be part of their team, producing this grant program for artists and helping elevate their presence. Many of the artists we see submitting their work are commenting on the intersection of art and technology, and I cannot wait to see more. Here are the 2024 Grant Recipients! > "The fusion of art and technology isn’t just a trend; it's a powerful tool for storytelling and innovation." These artists’ works challenge traditional forms and reflect contemporary issues, showcasing the dynamic interplay between art and technology. [Read the original article →](https://notrealart.com/2024-grant-winners-curators-statement/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-16) --- *FUTURE TRENDS IN ART AND TECH* --- ![Inspiring Artists from the Art Prize](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_482104f4-795a-4283-95a7-058a8bfc9ed1.jpg) ## Inspiring Artists from the Art Prize The Aesthetica Art Prize has recognized some of today's most exciting creators, as detailed in Aesthetica Magazine's recent article. These artists explore varied themes through photography, installations, and more, showcasing their work in top galleries worldwide. Having just returned from Arctic Norway and the lands of the Sami people, as well as Orkney and Shetland Islands in northern Great Britain, I found the featured artists' work particularly striking. The large-scale installations, reminiscent of AI imagery, amazed me. > "I’ve gotten so used to AI images now that it made me go 'wait, what, that’s real?'" I like how these works invite us to question our perceptions, bridging art and technology in unexpected ways. [Read the original article →](https://aestheticamagazine.com/inspiring-artists-from-the-art-prize/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-16) --- *THE LAST WORD* --- Thanks for joining me on this journey through the latest in art and tech. Your interest and feedback are what keep this conversation alive and meaningful. Feel free to share your thoughts—it's your engagement that makes this all worthwhile. Until next time, keep pushing boundaries and stay curious. — Juergen ### Andy Warhol's Lost Amiga Art, and Other Rediscoveries URL: https://theintersect.art/issues/15/ Last updated: 2026-08-10T15:27:41.000Z Hi there, In this edition of "The Intersect," we've got a mix of stories that show how technology and art are shaking things up together. We look at how digital tech is changing the way we experience art, the role of machine learning in creativity, and the history of music piracy. Plus, there's a quirky piece about an art installation in London that invites you to dance on musical graves. Yes, you read that right! I hope these stories give you something to ponder and maybe even a chuckle or two. --- *DATA DRIVEN ART* --- ![The Role of Machine Learning in AI Art: Tools and Techniques Explained](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c8f2b8b9-148b-4897-af32-c76d4dd606a6.jpg) ## The Role of Machine Learning in AI Art: Tools and Techniques Explained Machine learning is reshaping art, offering artists innovative tools to explore and create. This TechBullion article, "The Role of Machine Learning in AI Art: Tools and Techniques Explained," dives into how algorithms like Generative Adversarial Networks (GANs) and style transfers are changing the creative process. Initially, I found the article a bit light. However, as I read further, I realized it covers some lesser-known technologies, like GANs and style transfers, that I wasn't familiar with. This made the read insightful, bridging a gap in my understanding of these advanced techniques. > "I thought this article might be a bit fluffy at first, but then I realized that I don't know many of the tech discussed, such as 'Generative Adversarial Networks (GANs)' or 'Style Transfers'. So, from that perspective, it was worth the read." For anyone keen on the merging worlds of art and tech, it's a worthwhile exploration. [Read the original article →](https://techbullion.com/the-role-of-machine-learning-in-ai-art-tools-and-techniques-explained/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-15) --- *TECHNOLOGY IN MUSIC* --- ![How the Music Industry Learned to Love Piracy](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ca7a6e5b-1322-4659-a266-af852c50c4e6.jpg) ## How the Music Industry Learned to Love Piracy Elizabeth Nelson's article in The New York Times, "How Music Got Free," examines the seismic shift caused by music piracy. The Paramount+ documentary paints early file-sharers as digital Robin Hoods who took on a bloated industry. > "Depending on your perspective, it is either a delightful yarn about the money-changers in the temple getting their due or a long, sad narrative about corporations and consumers banding together to deprive artists of a fair wage." Yes, it's a compelling narrative. But should we glorify piracy? It disrupted an unfair system, but it also stripped artists of their income. [Read the original article →](https://www.nytimes.com/2024/07/31/magazine/how-music-got-free-documentary.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-15) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Claire Bishop and Simon Wu on The Evolving Artworld](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_c8f696ac-0f87-48e9-8d33-8248a461cb45.jpg) ## Claire Bishop and Simon Wu on The Evolving Artworld Jenny Wu's article in The Washington Post examines how digital tech is changing our engagement with art. She reviews Claire Bishop's "Disordered Attention" and Simon Wu's "Dancing on My Own." Bishop notes that smartphones and social media have altered our focus in museums and art spaces, while Wu critiques the art world's structure through personal essays, reflecting on digital culture's impact on identity. > “As memes, fashion, crowds, and trending all indicate, we instinctively pay attention to what others pay attention to,” Bishop states, highlighting a collective shift in art consumption. My take: Both books thoughtfully curate how tech, AI, smartphones, and social media have changed cultural engagement. Their insights are timely, given our digital lives. Bishop and Wu offer a comprehensive view of the evolving art-tech landscape. [Read the original article →](https://www.washingtonpost.com/books/2024/08/09/social-media-impact-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-15) ![What if Women Ruled the World?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2089bf28-1b0f-40a1-bd25-2b48be2678b3.jpg) ## What if Women Ruled the World? Judy Chicago's exhibition "Revelations" recently took center stage at the Serpentine North gallery, as reported by The Art Newspaper. This event was marked not only by Chicago's visionary work but also by a lively panel discussion exploring the theme, "What if Women Ruled the World?" The gathering featured prominent figures like Chris Bayley and Aleksandra Artamonovskaja, blending art and technology in a unique showcase. The standout aspect of this event was the interactive element, inviting attendees to record video responses to Chicago's participatory quilt, a collaboration with Pussy Riot's Nadya Tolokonnikova. This approach engages audiences beyond passive observation, challenging them to actively contribute their perspectives. The distribution of digital participation tokens via the Tezos blockchain further emphasizes this innovative interaction. > "We are so accustomed to passively consuming artworks that the concept of recording video responses to a piece of art feels both innovative and strange." Such immersive experiences in art are an interesting approach to fostering deeper connections with audiences. Will they successfully change our art consumption behavior in the long term? [Read the original article →](https://www.theartnewspaper.com/2024/08/09/what-if-women-ruled-the-world-the-art-newspaper-takes-part-in-summer-celebration-of-judy-chicago-at-the-serpentine?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-15) --- *AI IN VISUAL ARTS* --- ![Beyond the Canvas, Technology’s Influence on Modern Art](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_740e9f98-d1e4-466b-aed3-8f6bdd6ea3fa.jpg) ## Beyond the Canvas, Technology’s Influence on Modern Art Dereck Mangus's recent article on The Artblog dives into the intricate relationship between technology and art, tracing influences from Degas to Duchamp to today's AI-generated art. Mangus's reflections take us through historical shifts, showing how new tech has continuously reshaped artistic landscapes. My take mirrors this sentiment. I often think back on photography and its disruptive influence on the art world when it was the new craze. Impressionism, for instance, might have been a protest against the clarity of photography, pushing painters to capture the essence rather than the detail. > "AI will surely lead contemporary artists to make similar discoveries," Mangus notes, drawing a parallel to how Degas used photographs as sketches for paintings. Now, I wonder what the equivalent of AI-generated art will be in the future. Just as photography revolutionized art, AI too will push boundaries, perhaps leading to unforeseen art forms that challenge our current understanding. [Read the original article →](https://www.theartblog.org/2023/10/beyond-the-canvas-technologys-influence-on-modern-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-15) --- *PHOTOGRAPHY* --- ![7 Photography Films that Go Beyond the Frame](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_313f5cf1-bc41-4650-9c51-e6ca64365f1a.jpg) ## 7 Photography Films that Go Beyond the Frame Photography finds its way into our lives in various forms, but the ALL ARTS article goes deeper. It highlights seven films that explore the photographers themselves, their processes, and the stories behind iconic images. From Robert Frank’s “The Americans” to the unexpected journey of Vivian Maier’s work, these films are a treasure trove for anyone interested in the art and craft of photography. As an ex-photographer, I hilariously (stupidly) misinterpreted the title, clicking through thinking it referred to Agfa, Kodak, or Fuji camera films. It's a sign of my age in this digital world! Instead, these films have now become my new photo watchlist, a fascinating journey into the lives and works of legendary photographers. > "These films provide an in-depth look at the motivations, struggles, and philosophies of photographers who have significantly influenced the medium." This video playlist is now my go-to for understanding the profound impact of photography through the lens of those who shaped it. [Read the original article →](https://www.allarts.org/2026/01/7-photography-films-that-go-beyond-the-frame/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-15) --- *INTERACTIVE ART* --- ![London's Musical Graves: Dance on Tombstones in Grimaldi Park - Boing Boing](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_b5dbeb86-0979-412b-bde7-c09f59726cbf.jpg) ## London's Musical Graves: Dance on Tombstones in Grimaldi Park - Boing Boing In a recent article by Popkin on Boing Boing, we explore an intriguing art installation in Joseph Grimaldi Park, London. "An Invitation to Dance on the Grave" by Henry Krokatsis features two metal "musical graves" that play notes when stepped on. These graves honor the legacies of English clown Joseph Grimaldi and composer Charles Dibdin. This installation evokes a scene from the movie "Big" with Tom Hanks, where he dances on the piano at F.A.O. Schwartz, an iconic NYC toy store that has since closed its 5th Ave location. > "When stepped upon, the graves chime musical notes. The tiles are even tuned to allow visitors to play 'Hot Codlins,' a song famously popularized by Grimaldi." This playful yet macabre installation offers a unique way to engage with history and art, lifting spirits while possibly stirring up the surrounding ones. Mind you, no-one is actually buried under the instrument... [Read the original article →](https://boingboing.net/2024/08/05/stepping-on-graves-isnt-rude-here-londons-musical-tombstone-experience.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-15) --- *PERSONAL PROJECTS* --- ![The Marvelous and Monstrous Reality of Being a New York Artist](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_59ca7004-ce41-472f-9b92-ee710b23f455.jpg) ## The Marvelous and Monstrous Reality of Being a New York Artist Marin Kosut’s book, *Art Monster: On the Impossibility of New York*, explores the challenging realities artists face in New York City amidst the pressures of capitalism and social media. Hyperallergic provides insights into how Kosut subverts scholarly conventions, blending personal narratives with artist interviews to depict the city's complex art scene. Reflecting on my own journey, I recall starting my artistic career in New York City during the late '80s, living in a Greenpoint loft. Back then, the city was the place to be for emerging artists. However, like many, I found the path to recognition and financial stability daunting, eventually transitioning to a career in technology. > "When I was starting out my 'Artistic Career' as a photographer in the late 80's, the only place you wanted to do that was New York City." This book resonates with those who understand the unique challenges and allure of pursuing art in such a demanding environment. [Read the original article →](https://hyperallergic.com/the-marvelous-and-monstrous-reality-of-being-a-new-york-artist-marin-kosut-art-monster/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-15) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Andy Warhol's Lost Amiga Art Found](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_1e328a87-40e1-467d-88a1-f659b3554eac.png) ## Andy Warhol's Lost Amiga Art Found Andy Warhol's rediscovered Amiga artworks, found decades after their creation, were detailed in an article by dfarq.homeip.net. This story underscores significant concerns about the preservation of digital art. The fate of artists' websites and digital marketplaces posthumously raises important questions. Our digital creations face an uncertain future. Just as Warhol's pieces were nearly lost, so too could modern digital art vanish. > "How many artists' websites and digital marketplaces will survive after their death, I wonder? What will happen to all of our creations that only ever existed in a digital realm." Reflecting on this, it's clear that the art world needs more robust strategies for preserving digital works. For example, where can I sign up for my own published [photography series](https://cur.at/4VrmHGu?ref=theintersect.art) to survive, for at least a decade or so after my own demise? I will have to research this a bit... [Read the original article →](https://dfarq.homeip.net/andy-warhols-lost-amiga-art-found/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-15) --- *FUTURE TRENDS IN ART AND TECH* --- ![Championing Art and Technology Integration](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_86c7e8fa-2dda-4ce6-8ee9-1a73b92c0f1b.jpg) ## Championing Art and Technology Integration Knight Foundation's recent announcement, as detailed by [Art News](https://cur.at/tJJXQxj?ref=theintersect.art), highlights their commitment to integrating art and technology. Their open calls aim to support artists in selected cities, fostering innovation through the Knight Art + Tech Expansion Fund and Knight New Work. Our take? The 2024 Art + Tech Expansion Fund is an exciting opportunity for artists to explore new mediums. This initiative provides essential funding and infrastructure, enabling creatives to push the boundaries of art and technology. It’s a significant step towards merging artistic vision with technological advancements, creating a richer cultural landscape. > "Investing in these areas is central to their mission to build stronger, better-informed, and more engaged communities." Keep an eye on this space—Knight Foundation’s efforts are shaping a future where creativity and technology thrive together. [Read the original article →](https://www.artnews.com/art-news/sponsored-content/knight-foundation-2-championing-art-technology-integration-1234710398/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-15) --- *THE LAST WORD* --- Thanks for spending time with this edition. Your thoughts and feedback are always welcome, so feel free to share them. Let's keep exploring the possibilities when art meets tech. Until next time, stay curious and keep having fun exploring. Best, Juergen ### Where Colonial Histories and AI Collide URL: https://theintersect.art/issues/14/ Last updated: 2026-08-10T15:27:40.000Z Hi all, I'm excited to share the latest edition of The Intersect with you. This time, we're getting into more thought-provoking articles about the societal impacts of art and tech, the role of AI in music and fashion, and even a bit of history with high-tech scans of old photo hoaxes. I hope you find these stories as fascinating as I do. Whether it's exploring Amazon Music's new AI feature or understanding the collaborative nature of film production, my wish is that there's something here to spark your curiosity too, and maybe even inspire your next project. --- *TECHNOLOGY IN MUSIC* --- ![Amazon Music’s New AI Feature Lets You Browse Podcast Episodes by Topic](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_dda4c517-4f18-4f6d-86f8-e7ac9ac06b2a.jpg) ## Amazon Music’s New AI Feature Lets You Browse Podcast Episodes by Topic Amazon Music's latest feature, "Topics," allows users to explore podcast episodes by specific subjects, improving the way we find content. As reported by TechCrunch, this AI-powered tool introduces tags that guide listeners to episodes discussing their interests, enhancing podcast discoverability. Having spent over a decade producing podcasts, I've seen firsthand how challenging it can be for listeners to find the right content. This feature could revolutionize the search process, making it easier for indie podcasters to reach wider audiences without needing celebrity status. It's a significant step forward in aligning art and technology for better accessibility. > "Podcast listening has evolved significantly over the years. These days, it is much more driven by search and the desire to find something to listen to on a particular topic or subject matter." Ultimately, this innovation is a promising development for podcast enthusiasts and creators alike. [Read the original article →](https://techcrunch.com/2024/08/06/amazon-music-ai-feature-podcast-episodes-topics/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-14) --- *FILM & VIDEO* --- ![The Vital Role of Collaboration in Film and TV Production](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a2f4d066-0460-43ad-8c8b-66163b59fc3d.jpg) ## The Vital Role of Collaboration in Film and TV Production Film and TV production thrive on collaboration, as highlighted by TechBullion's article. The piece elaborates on how diverse professionals, from scriptwriters to post-production experts, work in unison to create compelling content. Filmmaking is inherently collaborative, unlike many other art forms. The synergy created by various talents working together is essential to the production's success. It’s the collective effort that brings a director's vision to life, making the final product richer and more nuanced. > "Filmmaking can be considered a collaborative art form that thrives on the synergy between creative minds." It strikes me that technology, specifically tools like video collaboration software, have made this coordination even more seamless, ensuring everyone is aligned and contributing effectively. [Read the original article →](https://techbullion.com/the-vital-role-of-collaboration-in-film-and-tv-production/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-14) --- *PUBLIC ART* --- ![Street Artists Use Their Art to Express Their Feelings About Paris Olympics](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d56720de-587c-4162-b908-c74d9774fbac.jpg) ## Street Artists Use Their Art to Express Their Feelings About Paris Olympics Stroll through any Paris district and you’ll find colorful works of art on the walls of buildings. Don’t be mistaken; street art is not taken lightly. Street artists are using their talents to express feelings on pressing social issues, as highlighted in a recent article by USA Today News. This initiative, tied to the Paris 2024 Olympics, allows artists to voice their perspectives through public art, with the stipulation that these artworks will only be on display until the end of September, after which they will be removed and cleaned up. > I love the idea of event-based street art, particularly because it ensures that public spaces are kept clean and the art doesn’t get spoiled by the typical permanent graffiti added by others over time. [Read the original article →](https://uk.news.yahoo.com/street-artists-art-express-feelings-164741410.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-14) ![Australia’s Northern Territory Introduces New Immersive Indigenous Experience in Uluru](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_45aaa7bc-faf0-4c22-8536-47ea5b78cd2b.jpg) ## Australia’s Northern Territory Introduces New Immersive Indigenous Experience in Uluru Australia's Northern Territory has launched Sunrise Journeys, a new immersive experience at Uluru, as reported by Travel Daily Media. This initiative aims to offer visitors a deeper connection to the region's Indigenous culture, though its implementation raises some pressing questions. Reflecting on our recent visit to Uluru, the experience was visually stunning, yet left me questioning the authenticity and impact on the local Indigenous community. Despite the allure of the art exhibitions, there was a noticeable absence of direct interaction with Indigenous people. This disparity prompts concerns about who truly benefits from these ventures. > "As beautiful as these experiences appear, I'm really only happy if I see it making a difference for the Indigenous people themselves, and not just their representatives in tourism." For me personally, there are broader implications of such initiatives and ensure they genuinely support the communities they feature. [Read the original article →](https://www.traveldailymedia.com/uluru-immersive-experience/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-14) --- *ART AND SPATIAL COMPUTING* --- ![Old Time Stereographs Get New Photos](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_4e89e07b-00b0-49d1-8e3b-9e8bee775e3a.jpg) ## Old Time Stereographs Get New Photos In a recent piece on Hackaday, we're taken back to the late 1800s with a look at stereographs, the original 3-D photographs. The article describes how a program was developed to transform modern 3D images into stereographs, using AI to bridge the gap between old and new technology. Our take? This project is a nod to the enduring appeal of 3-D imaging. It brings a hands-on approach to experiencing depth in images, reminiscent of the tactile experiences lost in today's digital age. The application of AI here underlines how technology can revive vintage methods, offering both artists and tech enthusiasts an opportunity to explore creativity through historical lenses. > "3-D imaging. The old-school way." I like projects like these for the potential in merging past innovations with present-day technology, creating fresh perspectives in artistic expression. [Read the original article →](https://hackaday.com/2024/08/06/old-time-stereographs-get-new-photos/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-14) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Is The Art World Obsessed With Making Us Feel Bad?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c12e261c-9335-4c87-9401-15410ffd9368.jpg) ## Is The Art World Obsessed With Making Us Feel Bad? Maurizio Cattelan's latest exhibition at Gagosian, New York, continues to stir the pot of public opinion, blending stark imagery with controversial themes. His work, intricately playing with elements of shock and satire, underscores the darker aspects of human conditions such as gun violence and homelessness. Yet, amidst these provocations, Cattelan challenges viewers to engage more deeply with the uncomfortable truths of our society. > The intersection of art and technology often highlights negatives, dangers, and concerns. I frequently find myself wondering, "How can we be inspirational as artists?" Exploring the boundary between art’s influence and viewer reception, Cattelan’s approach might be seen as a mirror reflecting our complexities. His audacious methods, including a golden-plated wall punctured by bullets and a figure mischievously positioned, provoke a dialogue on the aesthetics of discomfort. As noted by ARTnews, his art, while polarizing, captivates and holds the art world's attention, promising always to incite reaction, reflection, or even transformation. Through such bold expressions, Cattelan invites the art community to reflect on its role in shaping societal perspectives and emotional reactions. [Read the original article →](https://www.artnews.com/art-in-america/aia-reviews/maurizio-cattelan-sincere-sadist-gagosian-1234705453/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-14) --- *PHOTOGRAPHY* --- ![High-Tech Scans Peer Inside Cameras From Famed 125-Year-Old Photo Hoax](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5ff7d3d2-90cb-4dee-8866-33b8d9b831f9.jpg) ## High-Tech Scans Peer Inside Cameras From Famed 125-Year-Old Photo Hoax Heritage scientists at the University of Bradford used advanced CT scanners to study the cameras linked to the famous Cottingley Fairies photos, as reported by Leslie Katz on Forbes. These early 20th-century images, which once captured the imaginations of many, including Sir Arthur Conan Doyle, were revealed to be clever manipulations involving paper cutouts. The application of high-tech scanning to these historical artifacts seems like an unexpected choice. It's amusing that what we now recognize as early special effects managed to go 'viral' using such simple means. The use of these sophisticated tools for this project feels somewhat disconnected from the aim of exploring the supernatural. > "I find it funny that early special effects going ‘viral’ came down to paper cutouts from children’s books." While the fairies turned out to be a hoax, the fascination with their story persists in our digital age. [Read the original article →](https://www.forbes.com/sites/lesliekatz/2024/08/07/high-tech-scans-peer-inside-cameras-from-famed-125-year-old-photo-hoax/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-14) --- *DESIGN* --- ![SIAN Design Generates Modern Fine Jewelry Using Algorithms](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_245aa677-d14a-465b-a489-52d6f2336c75.jpg) ## SIAN Design Generates Modern Fine Jewelry Using Algorithms Architects Antonia Frey-Vorhammer and Simon Vorhammer of SIAN are transforming the jewelry design field by integrating algorithms and 3D modeling, as detailed in a fascinating piece by Design Milk. Their work stands out, combining architectural precision with artistic creativity, resulting in intricate and geometric jewelry pieces. Our take on this process is one of admiration. The seamless workflow from initial algorithmic design to the final handcrafted piece is both innovative and inspiring. It highlights a unique fusion of technology and artistry, making each piece not just an accessory but a testament to modern craftsmanship. > "I like many of these pieces and find the process workflow from 3D design tools to utilizing algorithmic patterns to eventually creating wearables fascinating." For anyone interested in how technology can redefine traditional crafts, SIAN’s approach offers a compelling glimpse into the future of design. [Read the original article →](https://design-milk.com/sian-design-generates-modern-fine-jewelry-using-algorithms/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-14) --- *FASHION* --- ![AI’s Fashion Industry Impact Explored in ‘The Zebras,’ IFFM-Bound Indian Indie Film Secures U.S. Distribution (EXCLUSIVE)](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ebf9c0ea-0008-4413-8fac-485c24bc1297.jpg) ## AI’s Fashion Industry Impact Explored in ‘The Zebras,’ IFFM-Bound Indian Indie Film Secures U.S. Distribution (EXCLUSIVE) “The Zebras: Dark Start,” an Indian indie film directed by Aneek Chaudhuri, delves into AI's influence on the fashion industry, as reported by *Variety*. The film, which weaves together the lives of a photographer, a documentarian, and a model, highlights the profound changes AI is bringing to the industry. It's set to premiere at the Indian Film Festival of Melbourne before a U.S. release. This film is a timely exploration of AI's impact on fashion, offering a fresh perspective on technology's role in creative fields. The filmmakers aim to spark critical conversations, and this aligns with our belief in examining how technology reshapes artistic expression. The dialogue it encourages is much needed in today's fast-evolving tech environment. > "From fashion photographers to models, the impact of AI on the fashion industry is already huge, especially abroad." As Technology's impact on the arts, specifically AI, continues to expand in many industries, stories, movies, and conversations continue to shape our understanding. [Read the original article →](https://variety.com/2024/film/asia/ai-fashion-industry-impact-the-zebras-1236096644/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-14) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![In Beatrice Glow's Art, Colonial Histories and AI Collide](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_fa5c8414-5bf8-4213-9d66-e694cff1d834.jpg) ## In Beatrice Glow's Art, Colonial Histories and AI Collide Beatrice Glow’s exhibition at the New-York Historical Society is thoughtfully critiqued by Alice Procter in Hyperallergic. Glow's work, which includes both VR technologies and AI, revisits colonial histories through innovative art forms. However, the exhibition sometimes struggles with the weight of its subject matter, particularly in its use of AI. While many artists, like Glow, feel the need to incorporate AI into their process, it's often more about the perception of staying relevant in a tech-driven world than about the technology itself. The buzz around AI can overshadow the actual message, creating a superficial layer that doesn't always add depth. > "The comparison between the almost-real weirdness of machine-generated images and the fantastical illustrations on early modern maps is self-consciously witty." IMHO the intersection of technology and art should enhance storytelling, not dilute it. And as per Hyperallergic, the artist’s exhibition at the New-York Historical Society is clever, but it takes on a vast and messy past with a touch that is sometimes too light. [Read the original article →](https://hyperallergic.com/in-beatrice-glow-art-colonial-histories-and-ai-collide-new-york-historical-society/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-14) --- *THE LAST WORD* --- Thanks for taking the time to read through this edition. I'm always eager to hear your thoughts and any ideas you might have for future topics. Your feedback is what helps us keep the conversation fresh and relevant. So, don't hesitate to drop me a line. Until next time, stay curious and keep pushing the boundaries of art and technology. Warm regards, Juergen ### When Ink Paintings Become 3D Worlds URL: https://theintersect.art/issues/13/ Last updated: 2026-08-10T15:27:39.000Z Greetings, art and tech enthusiasts! I've curated some fascinating pieces for you in this edition of "The Intersect." We discuss data-driven paintings, the curious case of Spotify playlist manipulations, and digital renditions of traditional Chinese ink paintings. Each article offers a unique look at how technology is shaping artistic expression and vice versa. So, grab your favorite beverage, settle in, and let's explore these intriguing intersections of creativity and innovation. Your thoughts and feedback are always welcome! --- *DATA DRIVEN ART* --- ![OUCHHH’s Ai Data Painting Creates a ‘ripple’ at XRP Ledger Apex Conference in Amsterdam](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9a9c56d5-c8da-4162-be27-a71ca9a57982.jpg) ## OUCHHH’s Ai Data Painting Creates a ‘ripple’ at XRP Ledger Apex Conference in Amsterdam OUCHHH’s AI data painting installation at the XRP Ledger Apex conference in Amsterdam is a fascinating fusion of human creativity and machine learning. This immersive piece was highlighted in a recent article by designboom, underscoring how real-time data can be transformed into dynamic, visual art. I appreciate the innovation behind AI data paintings, but the trend of partnering with luxury brands can make these artworks feel elitist. While displaying these creations on billboards in city centers opens them up to a broader audience, the exclusivity of such partnerships still raises concerns. > "I like the concept of AI data paintings, but the partnering with luxury brands leads to elitist only availability." It's an exciting development, yet it also prompts us to think critically about accessibility in art and technology. [Read the original article →](https://www.designboom.com/art/ouchhh-ai-data-painting-ripple-effect-xrp-ledger-apex-conference-amsterdam-06-29-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-13) --- *TECHNOLOGY IN MUSIC* --- ![The Spotify Conspiracy Theories About “Espresso,” Explained](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_41dd5c75-c9f8-42c7-b0cd-300b60dabbf8.jpg) ## The Spotify Conspiracy Theories About “Espresso,” Explained Steven Phillips-Horst's article on Vox delves into the curious case of Sabrina Carpenter's song "Espresso" seemingly taking over Spotify playlists. Phillips-Horst and many Spotify users have noticed this phenomenon, leading to speculation about whether labels are paying to boost certain tracks on the platform. We are back to an age of NYC 80s radio stations, which some have argued were influenced by music industry mob bosses. Maybe some look at it as just another “pay to play” example. I disagree though, since we, as paying Spotify subscribers, are already the ones paying here. I want playlists to reflect my taste. Which is what I pay for. Not to queue up a song I dislike, just because a label paid for that. > "I want playlists to reflect my taste. Which is what I pay for." It's time for transparency and control over our listening experiences. [Read the original article →](https://www.vox.com/culture/357907/spotify-sabrina-carpenter-espresso-chappell-roan-algorithm?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-13) --- *FILM & VIDEO* --- ![Watch Virtual and Natural Worlds Collide in Sea Change With Pérez Art Museum Miami](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_52a90e81-859e-4e82-9ec2-134fd59352e3.jpg) ## Watch Virtual and Natural Worlds Collide in Sea Change With Pérez Art Museum Miami Pérez Art Museum Miami’s (*PAMM*) hybrid exhibition "Sea Change" is now streaming on PAMMTV. The exhibition, covered by the museum's own release, explores themes of artificial intelligence, simulation, and identity, reflecting South Florida’s climate and technological landscape. Access the exhibition by creating an account at [www.pamm.tv](https://cur.at/iLchYsB?ref=theintersect.art). This initiative to bring art to smart TVs is intriguing. I appreciate the concept of an art gallery you can experience from home. However, the execution has some challenges. Setting up an account and installing the app on my Apple TV was a bit cumbersome. The usability of the pamm.tv app still needs refinement. > "This is an interesting idea for an art gallery and exhibition that essentially lives on your TV." The idea holds promise, but how practical do you find it to view art via your smart TV? [Read the original article →](https://hyperallergic.com/virtual-natural-worlds-sea-change-perez-art-museum-miami/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-13) ![Genres Intertwine](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a81ab6f1-a6a4-44be-a122-6bd2dcf3073c.jpg) ## Genres Intertwine A recent article in Aesthetica Magazine highlights a major exhibition at Tate Modern, showcasing Anthony McCall's groundbreaking work from 1973\. McCall stripped cinema to its core elements, profoundly altering perceptions of the medium. Exploring McCall's light sculptures reveals a mesmerizing interplay between space, light, and time. The way he manipulates light to shape the viewer's experience is both ingenious and inspirational. His work invites us to rethink visual art's boundaries and embrace minimalist approaches. I loved this quote: > “Be receptive, but remain utterly skeptical.” McCall's art encourages us to question and explore, aligning perfectly with our ethos at "The Intersect." [Read the original article →](https://aestheticamagazine.com/genres-intertwine/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-13) --- *ART AND SPATIAL COMPUTING* --- ![This Traditional Chinese Ink Painting is Actually a 3D Environment](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3fafe07d-b332-42e3-9e9c-22e815a0d06f.jpg) ## This Traditional Chinese Ink Painting is Actually a 3D Environment An article on 80.lv delves into a fascinating project by Environment Artist 安康. The artist created a digital 3D environment using 3ds Max and Unreal Engine 5, which closely mimics traditional Chinese ink paintings. This piece, depicting Mount Lu, showcases a seamless blend of ancient art forms with modern digital techniques. Well, I think it’s interesting because here is the use of gaming and 3-D rendering engines to create more traditional forms of artwork, or rather to re-create these. The digital rendition of a cultural landmark like Mount Lu adds a new dimension to our appreciation of both technology and heritage. > "It's a range viewed in face and peaks viewed from the side, Assuming different shapes viewed from far and wide. Of Mountain Lu we cannot make out the true face, For we are lost in the heart of the very place." Projects like 安康's highlight how digital tools can preserve and evolve traditional art forms. [Read the original article →](https://80.lv/articles/this-traditional-chinese-ink-painting-is-actually-a-3d-environment?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-13) --- *AI IN VISUAL ARTS* --- ![Questions of Reality](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_46b291d9-d6a5-436f-b3f5-e7dcccc1a427.jpg) ## Questions of Reality Giuseppe Lo Schiavo's "Questions of Reality" in Aesthetica Magazine explores simulated views shaped by the psychology behind our perception of real landscapes. His work challenges what we consider real and how our minds interpret imagery. Our take on this is particularly intriguing: this isn't just about generative AI but involves brainwave activity interacting with and influencing these artworks. This approach provides a richer, more immersive experience, bridging the gap between technology and human cognition. > This is not generative AI but rather scans of brainwave activity that are interacting with and influencing these artworks. Lo Schiavo's work illustrates the intersection of art and tech, offering new dimensions of reality we can engage with and ponder. [Read the original article →](https://aestheticamagazine.com/questions-of-reality/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-13) --- *DESIGN* --- ![Celebrity Design Duo Chip and Joanna Gaines Release Elegant Brass and Wood Bezels for Samsung’s Frame TV](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c4c20888-1895-4c4e-a1df-23cc5ef2eeb9.jpg) ## Celebrity Design Duo Chip and Joanna Gaines Release Elegant Brass and Wood Bezels for Samsung’s Frame TV Chip and Joanna Gaines have added a touch of elegance to Samsung’s Frame TV with their new brass and wood bezels, as reported by The Hollywood Reporter. These stylish frames allow the TV to blend seamlessly into home decor, making it a functional piece of art. I love the concept of using your TV as an art display, but the current software and apps for this are still catching up. The idea is brilliant, yet the execution often falls short, leaving much to be desired in terms of user experience and content variety. > "The software and apps to help do this are lagging way behind." These new bezels are a step in the right direction, but we need better software to truly make our TVs a canvas for creativity. [Read the original article →](https://www.hollywoodreporter.com/lifestyle/shopping/chip-and-joanna-gaines-design-samsung-frame-tv-bezels-1235963115/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-13) --- *PERSONAL PROJECTS* --- ![Roborock’s Latest Collab With Timothy Goodman Proves That Great Home Tech Is An Art Form](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_7b33df07-9c76-47df-8e44-f9646e574812.jpg) ## Roborock’s Latest Collab With Timothy Goodman Proves That Great Home Tech Is An Art Form Roborock’s latest collaboration with Timothy Goodman, covered by Bustle, showcases how tech and art can merge. Goodman used oil-based paint markers to transform the Roborock Qrevo Pro into a unique piece of art, blending playful nods to its functionality with his signature style. > "I love the challenge of drawing on unconventional objects and covering household products with art, because suddenly it redefines how they feel in a space." - Timothy Goodman Graffiti art product placement? If you ever feel a desire to “sell out” as an artist, decorating robo vacuums is perhaps a good way to do it. This collaboration redefines everyday objects, making them more than just functional. Or maybe this could be a fun home project, at least... [Read the original article →](https://www.bustle.com/shopping/roborocks-latest-collab-with-timothy-goodman-proves-that-great-home-tech-is-art-form?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-13) --- *ARCHITECTURE* --- ![Iconic Sydney Buildings Come to Life as Brass-Clad Tactile Maps](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_66989cde-38d0-4ef5-9175-d04c2cf63c46.jpg) ## Iconic Sydney Buildings Come to Life as Brass-Clad Tactile Maps Axolotl has created brass-clad tactile maps of iconic Sydney buildings, including the Opera House, to celebrate its 50th anniversary. These maps are 3D printed and accurately represent architectural forms, as detailed in a recent article by Designboom. When visiting the Opera House recently, I stumbled upon one of these maps and was unaware of its purpose. It’s fascinating to learn that it’s part of a larger initiative to bring these landmarks to life in a tactile way. > "I came across this recently when we were visiting the opera house in Sydney, but did not realize what it was. Great to find out that it was part of a much larger initiative." This initiative not only highlights the beauty of these structures but also makes them accessible in a unique manner. [Read the original article →](https://www.designboom.com/design/iconic-sydney-buildings-brass-clad-tactile-maps-axolotl-07-26-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-13) --- *FUTURE TRENDS IN ART AND TECH* --- ![The Canvas Of Wealth: Navigating The Evolving Landscape Of Art Investment In 2024](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b63ae786-2e50-421a-9092-e654d85084e7.jpg) ## The Canvas Of Wealth: Navigating The Evolving Landscape Of Art Investment In 2024 In an insightful piece by Art Basel, it's noted that high-net-worth individuals are increasingly looking at art investments amidst economic uncertainty. The article highlights the resilience of the art market, with a noteworthy shift towards digital platforms. Our take is clear: the rise in online art sales is a significant trend. Despite an overall market downturn, online sales surged by 7%, reaching $11.8 billion in 2023\. This figure represents 18% of the market's total turnover, showing the growing importance of digital avenues in art investments. > "The online digital art market saw a significant growth in online sales despite an overall market downturn." As digital platforms democratize access to the art market, I wonder if (and when) these trends will trickle down to "regular" artists. [Read the original article →](https://www.forbes.com/sites/josipamajic/2024/07/19/the-canvas-of-wealth-navigating-the-evolving-landscape-of-art-investment-in-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-13) --- *THE LAST WORD* --- Thanks for joining me on this journey through the latest in art and tech. I hope you found something that piqued your interest or sparked a new idea. Remember, the conversation doesn't end here—feel free to share your thoughts and insights. Until next time, keep exploring the beautiful blend of art and technology. Stay curious and creative, Juergen ### When Making Art Gets Too Easy URL: https://theintersect.art/issues/12/ Last updated: 2026-08-10T15:27:38.000Z Hi all: In this edition of The Intersect, I've curated a mix of articles that delve into the fascinating crossroads of art and technology. From a new perspective on blockchain driving the art economy to the nuanced debate on AI's role in music creation, there's a lot to unpack. We also explore Rick Rubin’s unique festival, the evolution of lossless audio, and the intricate world of DIY color film processing. I hope you find these pieces as thought-provoking as I did. Each article offers a unique perspective that reflects our ongoing journey to understand and celebrate the blend of creativity and technology. --- *TECHNOLOGY IN MUSIC* --- ![Does Music Lose Its Power When It’s Too Easy To Make, Too Easy To Listen To?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a9147a64-62d9-498f-aaa3-3827db1b2a30.jpg) ## Does Music Lose Its Power When It’s Too Easy To Make, Too Easy To Listen To? Mark R. DeLong's article on 3 Quarks Daily discusses Rick Beato’s YouTube video about the impact of AI on music. Beato argues that technology makes music too easy to create and consume, leading to a lack of originality and depth. This opinion echoes John Philip Sousa's early 20th-century concerns about mechanical music. I'm a huge Rick Beato fan and have subscribed to his YouTube channel for eons. His interviews with artists are a treasure. As a guitar player, I now focus solely on acoustic steel string guitar, using music as my creative outlet, not to chase trends. > "I noticed a similarity in the music playing in hotel lobbies, on radio stations, and throughout. The homogeneity was almost disturbing and surprising to me." While I support AI, I advocate for preserving the artistic essence of music. [Read the original article →](https://3quarksdaily.com/3quarksdaily/2024/07/separated-by-more-than-a-century-two-musicians-share-a-complaint.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-12) ![Lossless Audio — the Better-Than-Mp3 Alternative You Should Know](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a4abfc8a-e443-43be-8f84-5fd97d487952.jpg) ## Lossless Audio — the Better-Than-Mp3 Alternative You Should Know You've probably heard the term lossless audio, but what does it mean and why is it better than MP3? Digital Trends provides a comprehensive breakdown on how lossless audio retains the original data, unlike lossy formats like MP3 that discard some information to save space. As both a musician and podcaster, the idea of preserving audio quality is thrilling. Lossless compression ensures that every nuance in your music or spoken word remains intact, making it an appealing advancement for creators and audiophiles alike. > "Because a losslessly compressed song is exactly like its original source, there’s no perceptible difference between listening to a track from a CD versus a track that has been losslessly compressed and then decompressed." This technology is something to keep an eye on, especially as it becomes more mainstream. [Read the original article →](https://www.digitaltrends.com/home-theater/what-is-lossless-audio/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-12) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Uk General Election: Can Artists Show the Way for Policymakers to Enable a New Digital Economy?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_60e84cc7-8f07-4c96-a36c-2c5b50795c8b.jpg) ## Uk General Election: Can Artists Show the Way for Policymakers to Enable a New Digital Economy? The recent article by Alex Estorick at ClubNFT delves into the potential of blockchain, NFTs, and smart contracts to shape a new digital economy. Estorick highlights the lessons learned from the 2021 NFT boom and the subsequent market crash, emphasizing the need for legal frameworks to support artists in a rapidly evolving digital landscape. Frank Stella, a pioneer in championing the benefits of NFTs, demonstrated how blockchain technology could automate royalties for artists. His collaboration with Arsnl Art ensured that secondary sales of his works included a 10% resale royalty, showcasing the potential for equitable artist compensation. > "I know NFTs have had a bad rap, but there are important concepts in Blockchain technology that could have wide application in the art world." The UK just had elections, and the conversation around supporting digital artists and integrating Web3 technologies was part of the conversation around how the Labor party would support the arts. [Read the original article →](https://www.theartnewspaper.com/2024/07/01/uk-general-election-can-artists-show-the-way-for-policymakers-to-enable-a-new-digital-economy?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-12) --- *AI IN VISUAL ARTS* --- ![Into the Auntieverse: a surreal fantasy of older women](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f20cfb13-f52f-45d7-8a59-2e9ec2e2d7dc.jpg) ## Into the Auntieverse: a surreal fantasy of older women Niceaunties' "Auntieverse" is a whimsical digital world highlighting the unique traits of older women in Southeast Asian cultures. Her work, detailed in an article by The Guardian, uses AI to portray "aunties" in fantastical settings, from high-rise Tupperware stacks to ramen spas. This imaginative realm challenges stereotypes and celebrates the multifaceted nature of these women. Perhaps we are discovering acceptable uses for AI image manipulation. If not for nice aunties, then for who? This project shows how AI can reframe cultural narratives, offering a playful yet profound tribute to the often-overlooked "auntie" figure. > “I actually find aunties very endearing now,” says Niceaunties, reflecting on how her perspective has evolved. Art like this not only entertains but also starts important conversations about tradition and technology. [Read the original article →](https://www.theguardian.com/world/article/2024/jul/19/auntieverse-art-niceaunties-surreal-fantasy-older-women?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-12) ![‘Human Intelligence’ Art Movement Takes Defiant Stand Against AI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a435a75b-a603-483f-acb5-901badc38206.jpg) ## ‘Human Intelligence’ Art Movement Takes Defiant Stand Against AI Beth Spencer's movement, described in a recent article, encourages artists to feature human-created works on Instagram as a stand against AI. Spencer's initiative began with a simple iPad sketch and has since inspired nearly 1,200 artists worldwide to share their own interpretations, emphasizing the value of human intelligence in art. We love Spencer's approach, which is more pro-human than anti-tech. This sentiment resonates deeply with us at The Intersect, as it highlights the importance of human creativity without outright rejecting technological advancements. It's about celebrating the unique touch that only humans can bring to their art. > "It’s more pro-human than anti-tech," says Spencer, reflecting the initiative's core philosophy. The project continues to gather momentum, reminding us all that human creativity holds a special place in the world of art. [Read the original article →](https://www.forbes.com/sites/lesliekatz/2024/07/17/human-intelligence-art-movement-takes-defiant-stand-against-ai/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-12) --- *PHOTOGRAPHY* --- ![Colour Film Processing For The 2020s Hacker](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_da4e938c-19f1-4a10-8dcb-82a6da040a23.jpg) ## Colour Film Processing For The 2020s Hacker [Jason Koebler's article on Hackaday](https://cur.at/aULFV3D?ref=theintersect.art) explores the intricate process of color film processing in our digital age. He shares his journey setting up a home lab, detailing the challenges and rewards of this meticulous hobby. As a former professional photographer, I have to admit I do not at all miss the days of color processing. The tolerances required were so minuscule to get everything right, that it always remained out of reach from my perspective. > "Processing black and white film was another matter. It was always quite fun and relatively easy to master." If you’re inspired to order a bunch of color chemicals and try your hand at processing color film, be my guest. I eagerly await the day when digital film cartridge inserts can bring some of my older cameras back to life. [Read the original article →](https://hackaday.com/2024/07/23/colour-film-processing-for-the-2020s-hacker/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-12) ![Siena Drone Photo Awards' 2024 Nominees](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_16a561f6-89bc-492d-bfaa-ce1af9e93c3f.jpg) ## Siena Drone Photo Awards' 2024 Nominees The Siena Drone Photo Awards' 2024 Nominees, as featured on NPR, showcases the transformative power of drone technology in photography. Detailed aerial shots of Indian wrestlers, pelicans, a Mexican bullfight, and a snow-covered Turkish village are among the finalists. Love me some good drone photography. Hüseyin Karahan’s photo of Kargapazari village, taken when people were leaving a mosque, offers a stunning, almost abstract view of a snowed-in landscape. This shot captures the spontaneous beauty of our world, much like Karahan's inspiration, Ara Güler, did. > "Seeing as they were struggling to go out, he used his drone to take a wider view of the situation, and that's when his camera saw a very picturesque, almost abstract landscape." Such images remind us of the vastness of our world and our small place within it. [Read the original article →](https://www.neatorama.com/2024/07/01/Siena-Drone-Photo-Awards-2024-Nominees/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-12) --- *FASHION* --- ![Fashioning the Future](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_47faa3e5-5c82-46c4-9946-258dbf404b86.jpg) ## Fashioning the Future Here are five exhibitions that showcase how the fashion industry shapes our culture, politics, and identity, as highlighted by Emma Jacob in Aesthetica Magazine. These shows run from now until early next year and emphasize sustainability, diverse body shapes, and global influences. Our take focuses on the deep intersection of fashion and technology, showcasing reusable materials, recycling methods, and 3-D printing. These exhibitions also celebrate a wide range of body shapes and cultural influences, reflecting a more inclusive and forward-thinking fashion industry. > "I like the emphasis on reusable materials, recycling, 3-D printing, more diverse body shapes, and more diverse influences from cultures across the world." These exhibitions are a must-see for anyone interested in how fashion can drive social change while embracing technological advancements. [Read the original article →](https://aestheticamagazine.com/fashioning-the-future/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-12) --- *TECH IN ART EDUCATION* --- ![6 Art Books to Cure the Summer Reading Slump](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_df8bdefe-0b6d-4d53-8c35-0d99c0a6492a.jpg) ## 6 Art Books to Cure the Summer Reading Slump Lakshmi Rivera Amin of Hyperallergic has provided a refreshing list of art books to help overcome the summer reading slump. The list includes titles on artist lofts in New York City, Carmen Winant’s photography of abortion workers, and a how-to guide for comic artists. This reading list struck a chord with me, particularly the book on artist lofts. Back in the early 80s, I lived and had many friends in Brooklyn loft spaces. These were often illegal setups with makeshift plumbing and questionable fire safety. But for us, affordability was key, and those spaces were a haven for young, starving artists. > "As young 'starving' artists, it was more of the affordability that mattered to us." The book captures that gritty, creative spirit, making it a must-read for anyone interested in the intersection of art and urban living. [Read the original article →](https://hyperallergic.com/6-art-books-to-cure-the-summer-reading-slump/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-12) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![All Art Is Worthy of Preserving’: What Should Artists Do to Protect What They Leave Behind?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_41e0e3a0-883f-40e1-b964-233f57db629e.jpg) ## All Art Is Worthy of Preserving’: What Should Artists Do to Protect What They Leave Behind? With a dip in the art market and only one in five artists exhibiting their work in a museum, those on the outskirts are grappling with how to preserve their legacy. Carolina Drake's recent piece in The Guardian highlights the struggle artists face in preserving their legacies. Reflecting on this, many of my friends and fellow artists nearing retirement are increasingly troubled about their legacies. The sheer volume of their life's work remains homeless, lacking any form of permanent preservation. This resonates deeply with me as I manage several photography websites. I wonder if they'll outlive me, even if only for a few years. > "If a gallery hasn’t represented me at 50, it never will," Ortega poignantly notes, capturing a sentiment many of us share. The thought of our creative endeavors fading into obscurity is indeed a heavy burden. [Read the original article →](https://www.theguardian.com/artanddesign/article/2024/jul/17/preserving-art-artist-careers-legacies?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-12) --- *THE LAST WORD* --- Thanks for taking the time to explore these topics with me. I always appreciate your thoughts and perspectives, so feel free to share them. Stay curious and keep pushing the boundaries of your creative and tech endeavors. Until next time, take care and keep creating. Warm regards, Juergen ### What Gets Rebuilt, What Gets Left Behind URL: https://theintersect.art/issues/11/ Last updated: 2026-08-10T15:27:37.000Z Hi all, This edition of "The Intersect" brings together a fascinating mix of stories at the crossroads of art and technology. From Ruby Rhizome’s innovative transformation of medical data into digital masterpieces to the reimagining of Brutalist architecture in Washington DC, there's a lot to explore. We also delve into the evolving role of AI in visual arts and an eco-friendly breakthrough in automotive design using banana fibers! I hope these curated pieces inspire you to see the hidden connections between the digital and the organic, the historical and the futuristic. Enjoy reading! --- *DATA DRIVEN ART* --- ![Ruby Rhizome](https://theintersect.art/content/images/2026/07/2024-07-16_14-45-02.jpg) ## Ruby Rhizome Ruby Rhizome’s GENESIS Collection, highlighted by Galleria Perpetua, transforms medical data into digital art. Inspired by a personal medical experience, Rhizome reimagines ECG lines and X-ray scans, merging them with elements from nature, such as roots and leaves. This blend of technology and organic forms invites a deeper look at the interconnectedness of life. Rhizome's work captures the essence of human existence by turning clinical data into visual narratives. The artist’s unique approach reveals the hidden beauty in medical diagrams, offering a fresh perspective on the relationship between our bodies and their digital representations. > "Rhizome, inspired by a personal medical experience, turned medical data from an urgent surgery into art." The GENESIS Collection, with its 33 pieces, symbolizes the fusion of life’s fragility and vitality through digital art. [Read the original article →](https://www.coeval-magazine.com/coeval/ruby-rhizome?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-11) --- *PUBLIC ART* --- ![A Foosball Table Fuses Art, Sport, and 3D Printing in Hong Kong](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cd8df146-5ac6-4ac3-9af2-2b4578390ee3.jpg) ## A Foosball Table Fuses Art, Sport, and 3D Printing in Hong Kong An article from 3DPrint.com highlights Harbour Cup, a unique 3D printed foosball table in Hong Kong, designed by LAAB. This piece of interactive art redefines traditional table soccer by removing goals and teams, encouraging players to negotiate and collaborate. Our take? Foosball tables as public art installations are a brilliant way to foster community interaction. By merging art with play, Harbour Cup challenges our understanding of both. It's more than just a game; it's an invitation to engage with others in a meaningful way. > "Harbour Cup transforms the familiar game and its ingrained competitive nature into a space for communication and negotiation." Placed in a public space, this installation shows how art can enhance urban environments. It’s a perfect example of how creativity can bring people together in unexpected ways. [Read the original article →](https://3dprint.com/310958/a-foosball-table-fuses-art-sport-and-3d-printing-in-hong-kong/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-11) --- *AI IN VISUAL ARTS* --- ![Meta Changes Its Labels for Ai-Generated Images After Complaints from Photographers](https://theintersect.art/content/images/2026/07/2024-07-16_14-40-47.jpg) ## Meta Changes Its Labels for Ai-Generated Images After Complaints from Photographers Meta’s recent update to its “Made with AI” labels, covered by Engadget, addresses complaints from photographers about inaccurate labeling. The new “AI info” label aims to provide clearer context, but the implementation has some issues. Meta’s reliance on industry-standard signals led to non-AI images being mistakenly flagged, with minor Photoshop edits triggering the label. I'm not sure how I feel about these AI info labels. In this polarized world, it seems that we're swinging back and forth, and the pendulum swings from one extreme to another. So, a minor edit in Photoshop triggers an AI label on one hand, and generative AI political disinformation images might slip by without a label or moderation on the other. > "The pendulum swings from one extreme to another." It's crucial to find a balanced approach that accurately reflects the use of AI in content creation. [Read the original article →](https://www.engadget.com/meta-changes-its-labels-for-ai-generated-images-after-complaints-from-photographers-191533416.html?src=rss&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-11) --- *PHOTOGRAPHY* --- ![Sheringham Railway Station | Accidentally Wes Anderson](https://theintersect.art/content/images/2026/07/square_extra_large_45e8eaf2-7244-433d-b614-6ae8586fe711.jpg) ## Sheringham Railway Station | Accidentally Wes Anderson Sheringham Railway Station, as detailed by Accidentally Wes Anderson, is a charming example of how low-tech relics can be reimagined as art. The station, with its vintage aesthetics and historical significance, captures the essence of a bygone era. My take on this is that turning these "low-tech" relics into art is a fantastic way to preserve history while making it accessible and engaging for a modern audience. It reminds us that art isn't just about cutting-edge technology but also about appreciating and reinterpreting the old. > "The station, with its vintage aesthetics and historical significance, captures the essence of a bygone era." Projects like Accidentally Wes Anderson highlight how creativity can breathe new life into historical sites, making them relevant and interesting for today's viewers. [Read the original article →](https://accidentallywesanderson.com/places/sheringham-railway-station/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-11) --- *DESIGN* --- ![Banana-Based Biomaterial Innovates Lightweight Vehicle Parts, Revolutionizing Automotive and Bicycle Design](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_af5469b2-2a4e-43b7-9c1f-f81c63dec38d.jpg) ## Banana-Based Biomaterial Innovates Lightweight Vehicle Parts, Revolutionizing Automotive and Bicycle Design A recent article from TechTimes highlights an eco-friendly biomaterial derived from banana stems, developed by researchers at the University of Maine System, Oak Ridge National Laboratory, and the University of Tennessee. This material promises to transform the production of lightweight components for cars and bicycles. I remember having a banana bike as a kid. I guess that meant something else, but I love this idea. The use of banana fibers could drastically reduce the reliance on resource-intensive materials like glass and carbon fibers, offering a sustainable alternative with a smaller carbon footprint. > "Imagine a world where the sturdy fibers of banana trees, once mere remnants of tropical fruit farming, now weave together the future of lightweight automotive and bicycle design." This innovation not only supports sustainability but also showcases how nature's resources can be harnessed for modern technology. [Read the original article →](https://www.techtimes.com/articles/306636/20240712/banana-based-biomaterial-innovates-lightweight-vehicle-parts-revolutionizing-automotive-bicycle-design.htm?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-11) --- *ARCHITECTURE* --- ![Washington DC Has Some Ugly Brutalist Buildings. Here’s How Some Architects Would Fix Them.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_4dc08487-3d61-488d-8aea-3e51c250a867.jpg) ## Washington DC Has Some Ugly Brutalist Buildings. Here’s How Some Architects Would Fix Them. The Washington Post's recent article discusses the National Building Museum's initiative of reimagining six of Washington DC's most controversial Brutalist buildings. These structures, over 50 years old, are often criticized for their harsh aesthetics and outdated technology. The article highlights proposals from six architecture firms on potential redesigns. In our recent travels, we heard much about "Brutalist Architecture" as examples of buildings that should be torn down or modified. Several people on our trips also referred to these as "Soviet-style Horrors" and "70s-style Structuralism." What say you? > "A lover of brutalism might blanch to learn that the (National Building Museum) has gathered proposals from six architecture firms for reimagining six of our most polarizing buildings." Is it time to rethink these structures, or do they hold artistic value worth preserving? [Read the original article →](https://www.msn.com/en-us/news/us/d-c-s-ugliest-brutalist-buildings-and-how-architects-would-fix-them/ar-BB1pJUVP?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-11#new%5Ftab) --- *SCULPTURE* --- ![THE DIGITAL Frank Stella: A Story of Reinvention](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_43279382-de79-4840-80ae-3c9e3e283134.jpg) ## THE DIGITAL Frank Stella: A Story of Reinvention Artillery Magazine recently explored Frank Stella's reinvention through digital mediums in their article "THE DIGITAL Frank Stella: A Story of Reinvention." Stella, known as the godfather of minimalist painting, embraced 3D printing and NFTs in his later years, showcasing his ability to adapt and innovate until his final days. Our take emphasizes Stella's integration of 3D printing and digital art. His 2022 NFT collection, "Geometries," included 22 works spread across 2100 tokens. Each NFT allowed buyers to 3D print the sculpture, blurring the lines between digital and physical art. > "Frank Stella's late work has been significantly influenced by the evolution of 3D printing, especially in producing maquettes." Stella's willingness to explore new technologies even late in life is truly inspiring. [Read the original article →](https://artillerymag.com/the-digital-8/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-11) --- *SUSTAINABILITY IN ART AND TECH* --- ![This Exhibition Mourns the Disappearance of The Night and The Stars](https://theintersect.art/content/images/2026/07/2024-07-16_14-50-08.jpg) ## This Exhibition Mourns the Disappearance of The Night and The Stars Djabril Boukhenaïssi’s exhibition, "À Ténèbres," featured in Dazed, mourns the loss of our night skies due to light pollution. This display, a product of the Art & Environment Prize, captures the disappearing stars and moonlight, emphasizing the ecological and cultural impacts of our illuminated world. We are on the brink of a "post-starry sky" world. The absence of darkness not only disrupts ecosystems but also erases the mysteries and inspirations that night once provided. Boukhenaïssi’s work reminds us of the profound loss we face as artificial light overtakes natural night. > "If we lose the night, we also lose all the allegories and the representations that are linked to it." This exhibition is a poignant call to reflect on what we stand to lose in our ever-brightening world. *More details on Boukhenaïssi’s exhibition can be found in Dazed.* [Read the original article →](https://www.dazeddigital.com/art-photography/article/63127/1/this-exhibition-mourns-the-disappearance-of-the-night?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-11) --- *TECH IN ART EDUCATION* --- ![Art History Grads Face Highest Rates of Unemployment in The US](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_110a8577-dd6a-4245-9821-406cdc272ea7.jpg) ## Art History Grads Face Highest Rates of Unemployment in The US The New York Fed recently highlighted in an interactive report that Art History, Visual and Performing Arts, and Graphic Design majors face the highest unemployment rates in the US. This data, sourced from the Federal Reserve Bank of New York, paints a concerning picture for arts graduates. As someone who graduated in Art, Art History, and Photography, and successfully transitioned to a career in tech, this news is disheartening. Art history degrees cultivate critical thinking, visual analysis, and cross-cultural understanding—skills that are invaluable in our visually-driven world. They offer a unique interdisciplinary approach to complex issues, preparing graduates for diverse roles beyond traditional paths. > "In our visually-driven world, the ability to interpret and contextualize images is more crucial than ever." Despite the bleak statistics, arts education continues to thrive, illustrating its enduring importance. Credit: Federal Reserve Bank of New York, Hyperallergic. [Read the original article →](https://www.theartnewspaper.com/2024/07/11/art-history-grads-face-highest-rates-of-unemployment-in-the-us?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-11) --- *FUTURE TRENDS IN ART AND TECH* --- ![From Space Age to Metaverse: Vitra’s New Sci-Fi Design Exhibition](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b93b5f65-1473-4200-ad0c-a6fd31c204d4.jpg) ## From Space Age to Metaverse: Vitra’s New Sci-Fi Design Exhibition Vitra's new exhibition, "Science Fiction Design: From Space Age to Metaverse" explores the deep influence of science fiction on design. Showcasing over 100 objects, the exhibition highlights the ongoing dialogue between futuristic visions and practical design, as detailed by Design Milk. The exhibition underscores the intersection of art and science fiction, an evolving relationship that pushes the boundaries of what design can achieve. From the space-age designs of the 1950s to the digital innovations seen today, this exhibit offers a comprehensive look at how speculative fiction fuels creative progress. > "To talk about the intersection of art and technology, so how about the intersection of art and science fiction?" Curated by Argentine visual artist Andrés Reisinger, the exhibition runs through May 11, 2025, at Vitra Schaudepot. [Read the original article →](https://design-milk.com/from-space-age-to-metaverse-vitras-new-sci-fi-design-exhibition/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-11) ![As Winner of Renamed ABS Digital Art Prize Is Announced, Have We Reached a Turning Point for Conversations Around NFTs and Culture?](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_99352ed5-cbd7-4853-b802-69b06d76b425.jpg) ## As Winner of Renamed ABS Digital Art Prize Is Announced, Have We Reached a Turning Point for Conversations Around NFTs and Culture? Geneva-based RVig, who was awarded the prize for a piece inspired by Baudelaire, is hoping for a more nuanced understanding of what NFTs bring to the art world. Louis Jebb's article in The Art Newspaper highlights RVig’s win at the renamed ABS Digital Art Prize. This shift from “NFT Art Prize” to “Digital Art Prize” aims to clarify the role of NFTs in the art world, emphasizing their utility over their hype. This rebranding signals a more nuanced understanding of NFTs, focusing on their ability to authenticate and surface digital art rather than being an art form themselves. > "It's just a technology, in the same way that a computer is technology or a canvas is a form of technology," says Krugman. My take: I'm constantly exploring how to reposition blockchain and NFTs to be seen as tools for good, meaningful, and constructive contributions to the art world, rather than being forever tied to speculative bubbles and sensational headlines. Let's continue to highlight the genuine value and opportunities these technologies offer. [Read the original article →](https://www.theartnewspaper.com/2024/06/24/as-winner-of-renamed-abs-digital-art-prize-is-announced-have-we-reached-a-turning-point-for-conversations-around-nfts-and-culture?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-11) --- *THE LAST WORD* --- Thank you for taking the time to join me on this journey through the latest intersections of art and technology. Your interest and engagement mean a lot. If any of these stories spark a thought or question, feel free to reach out. Let's continue to explore and celebrate the fascinating fusion of creativity and innovation. Warm regards, Juergen ### The Biggest, Most Universal Questions URL: https://theintersect.art/issues/10/ Last updated: 2026-08-10T15:27:36.000Z Hi all! This edition of The Intersect continues to explore how art and technology shape each other in practical, impactful ways. We look at the New World Symphony's digital outreach, young artists merging technology with spirituality, and the design legacy of Soviet-era kiosks. You'll also find an appreciation for Bill Viola's contributions to video art. Take a moment to see how these stories connect art and technology in our everyday lives. --- *FILM & VIDEO* --- ![Bill Viola Made Video Art Ask the Biggest, Most Universal Questions](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_4896a71c-688c-4011-90d9-c0029e3292c8.jpg) ## Bill Viola Made Video Art Ask the Biggest, Most Universal Questions Bill Viola, who recently passed away at 73, used video to explore profound themes like life, death, and the soul. His work, as detailed in a recent obituary by The Guardian, stood out for its ability to create stillness in a visually saturated world. Viola's art, spanning decades, often delved into near-death experiences and spiritual awakenings, making him a unique figure in the realm of video art. Having recently visited Stromness in the Orkney Islands, I was particularly struck by a quote from the article: > "After Viola, video and film became ever more present in galleries and museums, yet the use of the moving image in art has become as unfocused, ever-changing and multitudinous as it is in the world all round us." Viola’s legacy challenges us to think deeply about how we use screens in art today. [Read the original article →](https://www.theguardian.com/artanddesign/article/2024/jul/15/bill-viola-appreciation?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-10) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![How Technology Enables Arts Institutions to Reach New Audiences and Expand Access to the Arts](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_306dcb8c-5b2d-4042-9278-0375ef8a47a7.jpg) ## How Technology Enables Arts Institutions to Reach New Audiences and Expand Access to the Arts Arts institutions are embracing digital strategies to reach wider audiences, as highlighted in a recent article by Art News. The New World Symphony in Miami Beach exemplifies this shift, using advanced technology to offer live-streamed performances during the pandemic. This move has continued to expand their reach beyond local audiences. Having just returned from a lengthy trip to the EU, it struck me how different the consumption models for digital and physical art remain. Visiting a museum or gallery offers an immersive experience that VR or AR can't yet replicate. However, these "old school" methods are no longer the only options. Gamers might argue that in-game experiences with 3D glasses can be artful, and projects like the Sphere in Las Vegas are pioneering new immersive art experiences. > "I can't wait to see a future where appreciating digital art doesn't necessarily involve a screen or phone." The digital realm is opening new avenues for art appreciation, and we are just at the beginning. [Read the original article →](https://www.artnews.com/art-news/sponsored-content/knight-foundation-3-how-technology-enables-arts-institutions-reach-new-audiences-expand-access-1234708962/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-10) ![Artists Should Exploit Ai’s Capabilities, Say Creators of New Tate Modern Show](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b38497e3-57ee-4c0d-8eb2-32d1a231ac90.jpg) ## Artists Should Exploit Ai’s Capabilities, Say Creators of New Tate Modern Show Exhibition traces long relationship between artists and technology, a symbiosis that is sure to continue. Catherine Wood, the museum’s director of exhibitions and programs, believes AI is an opportunity, not a threat, as shown in Tate Modern's Electric Dreams exhibition, which opens on November 28 and features over 150 works from 70 artists globally. [The Guardian](https://cur.at/vMm6ME6?ref=theintersect.art) provides full details. Here again a historical perspective on AI and its potential integration into the artistic process, this time dating back to the 1950s. As Wood emphasizes, the relationship between art and technology is not new but has long been a fertile ground for creativity. > "Humans and artists have been grappling with these questions for a long time so we wanted to give the long view on the social, existential and artistic questions around uses of technology to make art." This exhibition offers an insightful look into how technology and art have evolved together. [Read the original article →](https://www.theguardian.com/artanddesign/article/2024/jul/15/artists-ai-new-tate-modern-exhibition-electric-dreams?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-10) ![How Young Artists Take Inspiration From Religion in Uncertain Times](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_06fcad95-015d-4861-ae8a-1c63f0fe3114.jpg) ## How Young Artists Take Inspiration From Religion in Uncertain Times In an article by The New York Times, young New York artists are exploring spirituality through their work, incorporating symbols and themes from various religions. These artists, like Chris Lloyd and Rachel Rossin, bring together advanced tech like 3D printing and AI with traditional iconography to ask big questions about existence and service. One might argue that "taking spiritual matters seriously" has always been a hallmark of the arts. This new wave of artists is no different, blending ancient and modern elements to seek answers in today’s complex world. Their work serves as a bridge between the technological and the spiritual, reminding us that art has long been a medium for grappling with life's fundamental questions. > "Why are we here? Who should we serve?" The intersection of art and technology continues to offer profound insights into our shared human experience. [Read the original article →](https://www.nytimes.com/2024/07/13/arts/design/art-spirituality-religion-beliefs-christianity-new-york.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-10) --- *PHOTOGRAPHY* --- ![These Colorful Kiosks Changed the Soviet-Era Landscape](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a1815b51-4992-412f-b613-86aeebb89fa7.jpg) ## These Colorful Kiosks Changed the Soviet-Era Landscape From the 1970s to the 1990s, modular, modernist kiosks appeared across Central and Eastern Europe, as highlighted in a Fast Company article by Hunter Schwarz. These kiosks, captured in the book "Kiosk: The Last Modernist Booths Across Central and Eastern Europe" by Zupagrafika, reveal a unique lens into the region's history and design aesthetic. I've been working on a personal photography project called "[Accidentally Wes Anderson](https://cur.at/lXDBnFn?ref=theintersect.art)," which involves capturing scenes reminiscent of the filmmaker's distinctive style. This article about vibrant kiosk designs instantly reminded me of that look, with their bright colors and retro-futuristic vibe. > “Despite their modest dimensions, kiosks played a role much larger than the sum of their physical components,” says urban explorer Maciej Czarnecki. These kiosks are more than just remnants of the past; they symbolize a blend of history and design that continues to inspire. [Read the original article →](https://www.fastcompany.com/91151303/these-colorful-kiosks-changed-the-soviet-era-landscape?amp%3Butm%5Fcampaign=rss+fastcompany&%3Butm%5Fcontent=rss&%3Butm%5Fmedium=feed&%3Butm%5Fsource=rss&partner=rss&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-10) ![The Rise of The Camera Launched a Fight to Protect Gilded Age Privacy](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1a636c57-5087-4d12-9d97-230f5ba7bccb.jpg) ## The Rise of The Camera Launched a Fight to Protect Gilded Age Privacy In a captivating piece by Smithsonian Magazine, the rise of the camera during the Gilded Age is explored through the lens of privacy violations and technological misunderstanding. The article sheds light on how early photography, popularized by George Eastman's Kodak, led to unanticipated invasions of personal privacy and misuse of images, such as the misuse of Elizabeth Peck's portrait in false advertising. As a photographer, I find this both amusing and deeply relevant. The early days of photography were marked by a mix of wonder and fear, with some believing cameras could steal their souls. These stories highlight how privacy laws have struggled to keep pace with technological advancements. > "Privacy law, which is often slow to react, never quite catches up to technology, whether it's given one year or 100." It's a fascinating reminder of the ongoing dance between innovation and regulation. [Read the original article →](https://www.smithsonianmag.com/history/how-the-rise-of-the-camera-launched-a-fight-to-protect-gilded-age-americans-privacy-180984656/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-10) --- *DESIGN* --- ![Elon Musk Confirms Tesla Robotaxi Delay, Says Front Design Change](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_200d8b8b-6812-4f0d-96db-169e7088a672.jpg) ## Elon Musk Confirms Tesla Robotaxi Delay, Says Front Design Change Elon Musk has confirmed a delay for Tesla's Robotaxi unveiling, originally set for August 8th, now pushed to October, according to Bloomberg. Musk cited a requested front design change as the reason for the delay, adding that the extra time would allow Tesla to showcase additional features. Our take is that this so-called "design change" is more of an excuse than a necessity. It’s amusing, but it's hard to see Musk as an artist obsessed with perfecting his creation. Unlike artists who endlessly tweak their work, this seems more like a stalling tactic. > "Design change," in this example, is just an excuse. And a funny one at that. Not that I could ever bring myself to think of Elon Musk as an artist... Credit to Electrek for the detailed report on this development. [Read the original article →](https://electrek.co/2024/07/15/elon-musk-confirms-tesla-robotaxi-delay-front-design-change/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-10) --- *TECH IN ART EDUCATION* --- ![Fifteen Art and Design Projects by The Royal College of Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8cb567a7-f75d-4d5a-bf0d-d9d49209153a.jpg) ## Fifteen Art and Design Projects by The Royal College of Art Dezeen highlights innovative projects from students at the Royal College of Art, showcasing works that blend art and technology. Among these, a film created using generative AI stands out for its exploration of new media possibilities. As one might expect, technology features front and center in art projects and exhibitions like this one at the Royal College of Art. I often love exploring student and college projects as a way of connecting with younger artists to see trends and innovations in integrating art and technology in ways that perhaps older folks like myself would not immediately think of. > "I often love exploring student and college projects as a way of connecting with younger artists to see trends and innovations in integrating art and technology in ways that perhaps older folks like myself would not immediately think of." This exhibition is a terrific example of how students are pushing boundaries and redefining the role of technology in the arts. [Read the original article →](https://www.dezeen.com/2024/07/13/art-design-student-projects-royal-college-of-art-dezeen-schoolshows/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-10) --- *THE LAST WORD* --- Thank you for being part of The Intersect community. Your engagement and feedback are invaluable. I look forward to hearing your thoughts on this edition. If any of these stories resonate with you, please share your insights. Let's keep exploring the intersection of art and technology together. Stay curious, Juergen ### Trust, From Cave Walls to Camera Rolls URL: https://theintersect.art/issues/9/ Last updated: 2026-08-10T15:27:35.000Z Hi all, I’ve been traveling in Norway and the UK these past weeks but am trying my best to keep the newsletter going nonetheless. In this edition, I’ve gathered some compelling stories that highlight the dynamic interplay between art and technology. From SXSW’s significant decision in response to artist boycotts to Google's groundbreaking advancements in smartphone photography, there’s a lot to unpack. I hope you find these insights as fascinating as I did. Let's explore how art and tech are evolving together. --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Sxsw Cuts Ties With US Military Following Boycott From Over 80 Artists](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_eea59424-26ea-49f1-b764-64f9729350c4.jpg) ## Sxsw Cuts Ties With US Military Following Boycott From Over 80 Artists SXSW has announced changes to its sponsorship model, starting in 2025, following a boycott by over 80 artists due to the festival's ties with the US military and defense contractor RTX Corporation. This decision is a direct response to the protests led by artists like Squirrel Flower, as reported by Mixmag's Jamaal Johnson. For me, this highlights the power and necessity of voicing our beliefs and making decisions that reflect our values. Influence is wielded by those who speak up, even though it sometimes leads to outcomes shaped by the loudest voices rather than the majority. > "For me, this is an example of the importance of expressing our opinions and basing our decisions on values we want to promote." This development underscores how collective action can prompt significant changes in the intersection of art and technology. [Read the original article →](https://mixmag.net/read/sxsw-cuts-ties-with-us-military-boycott-80-artists-israel-gaza-news?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-9) --- *PHOTOGRAPHY* --- ![Google's Pixel 9 Might Take Its Cameras to a Place iPhone Would Never Dare](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5b9daabb-c782-4454-8566-c3f2d8f334af.jpg) ## Google's Pixel 9 Might Take Its Cameras to a Place iPhone Would Never Dare Google's Pixel 9 is set to redefine smartphone photography with advanced AI features, according to a detailed article on Inverse. The Pixel 9 will include new tools like "Studio," "Add Me," and "Pixel Screenshots," pushing the boundaries of what we consider a camera's role. The steady addition of AI capabilities is transforming our understanding of photography. Google's approach is not just about capturing reality but creating an idealized version of it. This could change how we think about images and memory. > "What's interesting for me here is to see how the steady addition of a myriad of AI features is changing the definition of what a camera is." Google's innovations might soon be mirrored by Apple, continuing this trend in smartphone photography. [Read the original article →](https://www.inverse.com/tech/google-pixel-9-camera-ai-editing-photography?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-9) ![Ansel Adams Estate Calls Out Adobe for Selling AI-Generated Art Using Photographer’s Name](https://theintersect.art/content/images/2026/07/IMG_4113.jpg) ## Ansel Adams Estate Calls Out Adobe for Selling AI-Generated Art Using Photographer’s Name Adobe recently faced backlash from the Ansel Adams Trust for selling AI-generated images under the famed photographer’s name, as reported by Art News. The images, which mimicked Adams's iconic style, were found on Adobe Stock, violating the company’s own policy against using prompts that copy other artists. For me, this highlights that large organizations may set policies for AI use, but implementing these changes consistently across all departments is challenging. It’s likely the leadership at Adobe didn't intend to breach their own guidelines, but this incident reveals a broader issue many companies face with unintentional policy violations. Without proper legislation, such problems will likely persist. > "The unintentional violation of your own AI policies is something that might be happening in more companies than just Adobe, and with the lack of legislation, this will continue to be a problem." Adobe's quick response to remove the content is a step in the right direction, but more proactive measures are necessary. [Read the original article →](https://www.artnews.com/art-news/news/ansel-adams-estate-ai-generated-images-adobe-controversy-1234708739/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-9) ![Trust in Photographs](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_5fb3a068-b79e-4931-aefd-6e533a9bccf9.jpg) ## Trust in Photographs The Sainsbury Centre's new exhibition, as covered by Aesthetica Magazine, dives into the complex relationship between photography and truth. Featuring works by Dorothea Lange, Richard Mosse, and others, it challenges the notion that "the camera never lies." The exhibition underscores how photography can shape, and sometimes distort, our understanding of significant events. Photography has always had the power to influence our perception of reality. From Robert Capa’s controversial "The Falling Soldier" to the manipulated images we see on social media today, the medium can both reveal and obscure truths. This duality is particularly relevant in our age of AI-generated images. > "More than ever, we should question the trust we place in subjective technologies." Visit the Sainsbury Centre’s exhibition until 20 October to explore these thought-provoking works. [Read the original article →](https://aestheticamagazine.com/trust-in-photographs/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-9) ![New and Improved Camera Inspired by the Human Eye](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_6f1df2da-9b12-471a-826b-31d982e773e9.jpg) ## New and Improved Camera Inspired by the Human Eye Researchers at the University of Maryland have developed a camera inspired by the human eye's tiny involuntary movements, known as microsaccades. This invention, detailed in “Science Robotics”, promises to enhance how robots perceive and react to their environment. First time I ever heard of microsaccades, which are small and quick eye movements that involuntarily occur when a person tries to focus their view. Through these minute yet continuous movements, the human eye can keep focus on an object and its visual textures -- such as color, depth and shadowing -- accurately over time. > "Our novel camera system can solve many specific problems, like helping a self-driving car figure out what on the road is a human and what isn't," says Yiannis Aloimonos, professor at UMD. This breakthrough could revolutionize various fields, from robotics to virtual reality. [Read the original article →](https://www.sciencedaily.com/releases/2024/07/240701162221.htm?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-9) --- *DESIGN* --- ![The Sphere](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1e5e5fb5-eea2-4d50-ad74-29e19bb7b04b.jpg) ## The Sphere The Verge recently covered "The Sphere" in Las Vegas, a venue boasting the world’s highest resolution screen at 15,000m² “16K”. Hosting artists like U2 and Phish, it also features Darren Aronofsky’s film, "Postcard from Earth". The article dives into the venue’s immersive qualities, noting its strengths and areas for improvement. Our take on "The Sphere" centers on its role in the history of panoramic art. The first panorama, created in 1787 in Edinburgh, aimed to bring expansive landscapes into urban settings. Today, "The Sphere" offers a similar experience but in a more controlled and individualistic manner. > "Panoramic art looked at landscapes with an expansive, acquisitive eye. Our century’s immersive experiences often feel like an inversion: inward rather than outward, closed rather than open." This historical perspective highlights how "The Sphere" serves as an innovative display tech as well as a refuge from the external world’s chaos. [Read the original article →](https://mssv.net/2024/07/02/the-sphere/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-9) --- *INTERACTIVE ART* --- ![New York’s First Permanent Immersive Art Center Is Pivoting to Puppy Yoga and Other Activations](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_46ace13a-a67b-426d-8201-5847a78226fd.jpg) ## New York’s First Permanent Immersive Art Center Is Pivoting to Puppy Yoga and Other Activations When the Hall des Lumières opened in 2022 with a Gustav Klimt installation, it was seen as a milestone for immersive art. However, according to ARTnews, the center has paused new art exhibitions to focus on activities like puppy yoga and whiskey tastings. > Sort of sad to think that once the wow factor of immersive art experiences wears off, the business model seems to not be sustainable. And then suddenly we get non-art-related content dominating. It's clear that while the center tries to adapt, the shift away from art is a happening. [Read the original article →](https://www.artnews.com/art-news/news/hall-des-lumieres-new-york-immersive-art-shift-1234711563/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-9) --- *SUSTAINABILITY IN ART AND TECH* --- ![Battery Storage at Glastonbury: Technology Helps Power World’s Largest Festival](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_fef7982b-3493-4ffd-9259-eb1b2e43755e.jpg) ## Battery Storage at Glastonbury: Technology Helps Power World’s Largest Festival Battery storage took center stage at Glastonbury this year, as detailed in an article from *Energy-Storage.news*. Progen Power and MSP Technologies used battery energy storage systems (BESS) to power the Arcadia stage, featuring performances from Fatboy Slim and Hot Chip. The BESS, combined with HVO biofuels and solar arrays, provided a clean energy solution for the festival's demanding power needs. Our take? It’s remarkable to see how a five-day, 200k+ capacity event can be powered by clean energy sources. This innovation not only reduces carbon emissions but also offers a quieter, more sustainable experience for festival-goers and staff alike. > "Interesting to see how a five-day, 200k+ capacity event can be entirely powered by clean energy sources." As these systems prove their worth at large events, the potential for broader adoption grows, paving the way for a more sustainable future. [Read the original article →](https://www.energy-storage.news/battery-storage-at-glastonbury-technology-helps-power-worlds-largest-festival/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-9) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![51,000-Year-Old Cave Art in Indonesia Is the World’s Oldest Figurative Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_cce9c87c-1a69-40a4-8150-a29e5f03561c.jpg) ## 51,000-Year-Old Cave Art in Indonesia Is the World’s Oldest Figurative Art Researchers have uncovered the world's oldest figurative rock art in Sulawesi, Indonesia, dating back 51,200 years. This discovery, detailed in a study published in *Nature*, features three humans and a pig, and predates the previous record by at least 5,000 years. What fascinates me most about this find is the glimpse it offers into the origins of storytelling. These ancient artists weren't just painting; they were capturing narratives. This pushes us to rethink when and how humans began to communicate complex stories. > "I love the idea of examining the origins of storytelling." This discovery opens new doors in understanding our ancestors' cognitive evolution. [Read the original article →](https://mymodernmet.com/earliest-cave-art-sulawesi-leang-karampuang/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-9) --- *THE LAST WORD* --- Thanks for taking the time to read through. Your engagement and curiosity are what drive this conversation forward. Feel free to share your thoughts or any interesting finds with me—I’d love to hear from you. Until next time, stay inspired and keep pushing the boundaries of what’s possible. Warm regards, Juergen ### The Blurry Line Between Readymade and Generated URL: https://theintersect.art/issues/8/ Last updated: 2026-08-10T15:27:35.000Z Hi everyone, Welcome back to "The Intersect." This edition offers insights on how art and technology continue to influence each other. We examine the commodification of creativity, the role of manual labor in the artistic process, and the intriguing relationship between AI and traditional photography. Additionally, we explore how music and drones are reshaping our environments and visual storytelling. --- *TECHNOLOGY IN MUSIC* --- ![The Science of Sound: How to Select Music That Aligns With Your Brand Identity](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_50167568-2047-4321-874b-ca9f436213c9.jpg) ## The Science of Sound: How to Select Music That Aligns With Your Brand Identity Researchers at the University of Bath have found that playing music in grocery stores on weekdays can boost sales by more than 10 percent. This insight, featured in an article from \[Publication\], highlights how retailers are leveraging background music to enhance the customer experience. However, focusing solely on sales or "brand identity" is incredibly short-sighted. The true value lies in creating enriching experiences that resonate with customers on a deeper level. Music should evoke emotions, foster connections, and enhance the overall environment, not just drive sales metrics. > "This is about creating experiences that may have benefits for a brand beyond just increasing sales." Incorporating music thoughtfully can transform a space, making it memorable and inviting. [Read the original article →](https://www.mytotalretail.com/article/the-science-of-sound-how-to-select-music-that-aligns-with-your-brand-identity/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-8) --- *FILM & VIDEO* --- ![The Important Role of Drones in Film and Media Production](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_474654e6-95b0-457a-89f2-f5e6b338a3c9.jpg) ## The Important Role of Drones in Film and Media Production In a recent article on TechBullion, the significant impact of drones on film and media production is explored. Drones offer new creative possibilities, cost-effective solutions, enhanced safety, and versatile camera movements, elevating the production value of films and media projects. As a licensed drone pilot for commercial purposes, this article resonated with me deeply. It's incredible how drone photography has become integral to even low-budget productions, providing unique angles and views. For instance, during my trip planning to Norway, I noticed many travel videos utilized drones for stunning panoramic shots—views regular visitors may never experience. This democratization of filmmaking tools is pushing the quality of visual storytelling to new heights. > "Drones are democratizing the filmmaking process, and access to these sorts of angles is improving the overall quality of filmmaking in many ways." Substitute "drone" with "artificial intelligence," and we enter a thought-provoking discussion. Can AI-generated visuals replace real drone footage? Ultimately, the filmmaker's vision remains paramount, and no tool can substitute for that. [Read the original article →](https://techbullion.com/the-important-role-of-drones-in-film-and-media-production/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-8) --- *PUBLIC ART* --- ![Sixteen Air-Filled Inflatable Rock Formations by ENESS Light Up for I Light Singapore](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_246b4e5a-1940-4b08-ac98-4c4135456616.jpg) ## Sixteen Air-Filled Inflatable Rock Formations by ENESS Light Up for I Light Singapore ENESS has created sixteen air-filled inflatable rock formations for the i Light Singapore event. Designboom highlights how these structures mimic a mountainous landscape against the city skyline. The installation also features a dynamic soundscape to enhance the immersive experience. I know this isn't the most profound piece, but it struck me as funny and fun. Singapore seems to need some mountains, though these probably won't work for skiing or bouldering. Nonetheless, they look pretty cool. > "I guess Singapore desperately needs some mountains. Not ready for skiing I guess, and perhaps bouldering would be futile as well, but it sure looks cool." Check out the original article on Designboom for more details. [Read the original article →](https://www.designboom.com/art/sixteen-air-filled-inflatable-rock-formations-eness-i-light-singapore-06-18-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-8) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Confusing Artists With “Creatives”](https://theintersect.art/content/images/2026/07/IMG_0037.jpg) ## Confusing Artists With “Creatives” The article "Confusing Artists With 'Creatives'" by “The Culture We Deserve” looks into the shifting meaning of "creativity" and its modern corporate usage. It highlights how institutions like Philadelphia’s University of the Arts have commodified creativity with their PhD programs, often funded by corporations rather than focusing on traditional scholarly pursuits. My take: I was employed in the financial industry when being a creative meant finding solutions for packaging subprime mortgages into CDOs. I'm pretty ashamed that my "creativity" was ever valued for that. Differentiating “artists” from “creatives” is crucial, and that’s why I thought this article was worth a read. > "Artists were unpredictable, politically undesirable, and socially unacceptable. But what it did want was the aura of greatness and specialness that artists had, and it wanted to bestow those traits on workers in technology, advertising, and science." Understanding the difference between true art and commodified creativity is more important than ever. [Read the original article →](https://theculturewedeserve.substack.com/p/culture-digested-the-phd-in-creativity?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-8) ![The Work of Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_e1b008aa-9cc1-45a3-ba0a-8c302ee1640a.jpg) ## The Work of Art In a recent article from The Convivial Society, the relationship between labor and creativity is explored through a thought-provoking lens. The author questions the modern reliance on time-saving technologies and their impact on our well-being and artistic endeavors. As a German, the phrase "Arbeit macht frei" is deeply unsettling due to its historical connotations. However, this piece prompts a positive re-evaluation of manual labor in the context of art. It suggests that everyday tasks, like doing laundry or washing dishes, can ground and enrich the creative process. > "The liberation we are offered is a liberation from the very care-driven involvement in the world and in our communities that would render our lives meaningful and satisfying." This perspective is refreshingly different, and it challenges us to see mundane activities as integral to our creative and personal growth. [Read the original article →](https://theconvivialsociety.substack.com/p/the-work-of-art?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-8) --- *AI IN VISUAL ARTS* --- ![Readymades vs. Generative AI.](https://theintersect.art/content/images/2026/07/IMG_0039.jpg) ## Readymades vs. Generative AI. In a thoughtful article on Medium, Nettrice Gaskins draws a parallel between Marcel Duchamp’s ready-mades and the modern use of generative AI in art. Duchamp’s approach of using found objects to create art mirrors how AI now serves as a tool to incorporate and generate artwork. My take? This connection between Duchamp and AI hadn't occurred to me. The idea that generative AI can be seen as a contemporary form of ready-made art is quite compelling. It prompts us to reconsider the definitions and boundaries of artistic creation in the digital age. > "Generative AI, like Duchamp’s ready-mades, challenges our perceptions of authorship and originality in art." It's a fascinating thought that makes us ponder the evolving nature of creativity. [Read the original article →](https://nettricegaskins.medium.com/readymades-vs-generative-ai-bb8048976083?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-8) --- *PHOTOGRAPHY* --- ![It Won an Award for AI Images. Just one Problem: It Was a Real Photo.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d7b38d37-16f1-4adf-8496-d221e2474e2f.jpg) ## It Won an Award for AI Images. Just one Problem: It Was a Real Photo. Miles Astray's flamingo photo, initially honored in the AI category of the 1839 Awards, was disqualified after it was revealed to be a real photo. As reported by The Washington Post, Astray intended to highlight the incredible creativity of nature, suggesting that it surpasses artificial intelligence. We believe this incident underscores a critical point: the need for better standards in judging AI art. As AI-generated images become increasingly sophisticated, it's vital to establish clear criteria to distinguish between human and machine creations. This ensures fairness and fosters genuine appreciation for both mediums. > "Nature is just so fantastic and creative, and I don’t think any machine can beat that," Miles Astray said. This episode invites us to reflect on how we evaluate and value art in the age of AI. [Read the original article →](https://www.washingtonpost.com/technology/2024/06/17/headless-flamingo-photo-ai/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-8) ![VR Support Planned for Serene Photography Game Built with UE5](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_da047fbb-5c04-45d2-9276-ad848ac98883.jpg) ## VR Support Planned for Serene Photography Game Built with UE5 Lushfoil Photography Sim, a serene photography game built on Unreal Engine 5, is set to receive optional PC VR support after its initial release. Developed by Matt Newell and published by Annapurna Interactive, the game immerses players in photorealistic landscapes. The tool offers camera settings like shutter speed, ISO, aperture, and more. Originally reported by Road to VR. As a photographer, the idea of exploring virtual environments to practice photography skills is fascinating. It allows honing both technical and compositional abilities without the pressure of real-world conditions. The addition of VR could enhance this experience, making it even more immersive. > "I often struggle with feeling rushed when trying to capture serene and zen-like landscape photographs." Practicing in such a game could prepare us better for actual landscape photography, making those rushed moments feel less daunting. [Read the original article →](https://roadtovr.com/lushfoil-photography-sim-pc-vr-unreal-engine-5/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-8) --- *THE LAST WORD* --- Thank you for taking the time to read through this edition. Your interest and engagement mean a lot to me. I hope these articles spark new ideas and conversations in your work and life. As always, feel free to share your thoughts and feedback – I love hearing from you. Best, Juergen ### I Want AI to Do My Taxes, Not My Art URL: https://theintersect.art/issues/7/ Last updated: 2026-08-10T15:27:34.000Z We've curated some more thought-provoking and also some fun pieces that explore how technology continues to shape art and creativity. From Claire Bishop's insights on our changing attention spans to cutting-edge AI tools in the music industry, there's a lot to dive into. I hope you'll find these stories as fascinating as I did. Whether it's the vibrant photography of the Northern Lights or the ethical concerns around AI and Instagram, each piece offers a unique perspective on the intersection of art and technology. --- *TECHNOLOGY IN MUSIC* --- ![​Daddy Kev launches AI tool to help artists identify issues in music contracts](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_06544ebb-2bc4-4876-b351-be5f9f36b09f.jpg) ## ​Daddy Kev launches AI tool to help artists identify issues in music contracts US producer and audio engineer Daddy Kev has introduced [musiclawyer.ai](https://cur.at/lyOijpb?ref=theintersect.art), an AI tool that helps independent artists identify problems in their music contracts. As reported by Mixmag, the app is currently in BETA and supports multiple languages, including English and Spanish. It's refreshing to see AI applied in ways that benefit artists directly and ethically. The tool not only analyzes contracts for inconsistencies but also helps audit royalty statements, providing much-needed transparency in the industry. > "It's a struggle these days to find stories about the use of AI in the arts that are ethical, positive, as well as innovative. This one fits the bill." For more details, check out the original article by Gemma Ross on Mixmag. [Read the original article →](https://mixmag.net/read/daddy-kev-launches-ai-tool-artists-identify-issues-music-contracts-royalties-news?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-7) --- *PUBLIC ART* --- ![A Man Ordered to Hide His Boat Painted the Boat on His Fence](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d6db2d5e-0ccb-47df-a64e-3a1b66cfb508.jpg) ## A Man Ordered to Hide His Boat Painted the Boat on His Fence When the town of Seaside, California ordered Etienne Constable to conceal his boat, he hired artist Hanif Panni to paint the boat on the fence. This story, covered by Artnet News, showcases how art can be both humorous and subversive in the face of regulations. Our take on this? It’s a brilliant example of how creativity can challenge mundane rules. Instead of hiding the boat, Constable’s fence mural makes a bold statement, blending art with everyday life in a way that resonates deeply with the community. > When subversiveness in art is personally directed at your next-door neighbor… The mural not only complies with the town’s directive but also transforms a simple fence into a piece of art that gets people talking. [Read the original article →](https://news.artnet.com/art-world/fence-boat-painting-artist-hanif-panni-2487875?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-7) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Claire Bishop’s New Book Argues Technology Changed Attention Spans—and Shows How Artists Have Adapted](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_10fabf9b-5ca2-4de1-9f01-8df65e1174c4.jpg) ## Claire Bishop’s New Book Argues Technology Changed Attention Spans—and Shows How Artists Have Adapted Claire Bishop's new book, *Disordered Attention: How We Look at Art and Performance Today,* argues that our phones have become a “prosthesis for viewing” art. Published by Verso Books, Bishop's work explores how artists adapt to the fragmented attention spans shaped by digital technology. Historically, artists have always adapted to their audiences, often driving societal changes through their work. This isn't new; it's a form of marketing to ensure their messages reach people. The question remains whether today's digital distractions are just another chapter in this ongoing adaptation. > "Artists have often driven societal changes and called attention to societal issues, which relies on adapting to their audiences almost as a form of marketing." In this context, Bishop's insights offer a compelling examination of how contemporary artists navigate our digital age. [Read the original article →](https://www.artnews.com/art-in-america/aia-reviews/claire-bishop-disordered-attention-review-1234705909/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-7) --- *AI IN VISUAL ARTS* --- ![Artists Threaten to Leave Instagram in Droves over AI Art Training](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_bd225f4f-3992-4091-b0b2-39898f0ead63.jpg) ## Artists Threaten to Leave Instagram in Droves over AI Art Training Meta's use of Instagram images to train its AI image generator has sparked significant controversy, as reported by Creative Bloq. Many artists feel blindsided by the lack of transparency and consent over their images' usage. The EU mandates an opt-out option, but Meta has made this process convoluted and difficult. I believe Instagram should make the opt-out process straightforward and transparent. The EU is once again setting the standard for data privacy, and it's my hope that other regions, including the US, will follow suit. Leaving Instagram may feel like a protest, but it won't benefit anyone long-term. > "Instagram needs to make the option to opt out of AI training for one's images more transparent and easy to use." A push for a more accessible opt-out solution is a better path forward. Credit: [Creative Bloq](https://cur.at/aVwhGUF?ref=theintersect.art) [Read the original article →](https://www.creativebloq.com/news/instagram-ai-training?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-7) --- *PHOTOGRAPHY* --- ![This is why the Northern Lights look better through your phone camera](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_4b21a0f0-b499-4ac0-b4e0-27b22c8a2383.jpg) ## This is why the Northern Lights look better through your phone camera Smartphone cameras have made impressive strides in recent years, particularly in capturing the vivid hues of the aurora borealis. An article by Douglas Goodwin in The Conversation explores how these devices utilize AI and computational photography to enhance images far beyond what our eyes can see. Our eyes are optimized for daylight vision using cones, which detect color and fine details. At night, we rely on rods, which are more light-sensitive but less effective at distinguishing color. This biological limitation means that the vibrant colors of the aurora borealis often appear muted to the naked eye. > "Here's some good biological background as to why our eyes function better in bright daylight than at night and how that influences our ability to see the aurora borealis when compared to using cameras such as iPhones." While our eyes have their limitations, modern smartphone cameras bridge the gap, capturing the aurora's beauty with enhanced clarity and vividness. [Read the original article →](https://www.fastcompany.com/91130565/northern-lights-smartphone-camera-tech?amp%3Butm%5Fcampaign=rss+fastcompany&%3Butm%5Fcontent=rss&%3Butm%5Fmedium=feed&%3Butm%5Fsource=rss&partner=rss&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-7) ![Photo London 2024 Showcases the Boundless Potential of Photography](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_77090564-dde2-4865-81ac-5b52abee5f85.jpg) ## Photo London 2024 Showcases the Boundless Potential of Photography Photo London 2024, held at the historic Somerset House, has evolved into a key event showcasing the vast potential of photography. As highlighted by David Graver, this year's fair featured groundbreaking works that blend photography with technology, creating dynamic video art and immersive installations. From sculptures to immersive art videos, for me as a former photographer, this story is particularly compelling. I love seeing photography concepts expand to incorporate technologies and different media types. Exhibits like Thomas Devaux's *Dichroics* and Giuseppe Lo Schiavo's synthetic photography highlight how artists are pushing the boundaries of the medium. > "The interplay between the light, the glass and the gilding creates dynamic, captivating pieces that are challenging to photograph but encourage viewers to interact and capture their reflections." These innovative approaches not only redefine photography but also invite viewers to engage with the art in fresh ways. [Read the original article →](https://coolhunting.com/culture/photo-london-2024-showcases-the-boundless-potential-of-photography/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-7) --- *ARTIFICIAL INTELLIGENCE AND CREATIVITY* --- ![AI Is a Black Box. Anthropic Figured Out a Way to Look Inside](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_60203f7c-0687-4109-8621-e6c845ffe5bb.jpg) ## AI Is a Black Box. Anthropic Figured Out a Way to Look Inside What goes on in artificial neural networks work is largely a mystery, even to their creators. But researchers from Anthropic have caught a glimpse. Steven Levy's article in Wired delves into Anthropic's efforts to decode the mysteries within AI's "black box." Researchers, led by Chris Olah, have made strides in understanding how neural networks generate specific outputs, potentially enhancing AI safety. As it turns out, cracking open a black box is somewhat of an artistic endeavor. > "It’s sort of a bewildering thing,” says Josh Batson, an Anthropic research scientist. “We’ve got on the order of 17 million different concepts \[in an LLM\], and they don't come out labeled for our understanding. So we just go look, when did that pattern show up?” The blend of art and tech here is palpable; understanding AI's inner workings feels akin to deciphering a complex piece of abstract art. [Read the original article →](https://www.wired.com/story/anthropic-black-box-ai-research-neurons-features/?ref=thefuturist&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-7) --- *DESIGN* --- ![I Want AI to Do My Taxes, Not Design F1 Trophies](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_38eaa935-f154-4ff4-8bf0-3fa49cc974aa.jpg) ## I Want AI to Do My Taxes, Not Design F1 Trophies In a recent article by The Drive, Chris Tsui discusses the decision by Formula 1 to have AI design the trophy for the Canadian Grand Prix. This collaboration with Amazon Web Services has sparked debate about the role of AI in creative fields. While AI's efficiency and precision are undeniable, its use in creative endeavors like trophy design raises questions. Should technology replace human creativity? As much as I enjoy F1, I believe AI should handle repetitive tasks, freeing humans to focus on art and innovation. > "I want AI to do my laundry and dishes so that I can do art and writing, not for AI to do my art and writing so that I can do my laundry and dishes." Ultimately, the value of human creativity should not be overshadowed by technological convenience. [Read the original article →](https://www.thedrive.com/news/i-want-ai-to-do-my-taxes-not-design-f1-trophies?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-7) --- *SUSTAINABILITY IN ART AND TECH* --- ![The Surprising Role Planetariums Play In Ocean Conservation](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_33304a96-bb07-4ea7-b73c-274381aa2a4f.jpg) ## The Surprising Role Planetariums Play In Ocean Conservation Planetariums are playing an unexpected role in ocean conservation, as highlighted in a recent article by Forbes. During World Oceans Week, planetariums around the globe will screen "Sounds of the Ocean," an immersive film by Embodied Sounds, Inc., to educate and inspire communities about the importance of our oceans. I find the creation of immersive experiences to be an emerging art form. From the traveling Van Gogh exhibits to this unique approach to environmental activism, these experiences engage the audience on a deeper level. The fusion of visual and auditory elements in "Sounds of the Ocean" is particularly exciting as it leverages art to foster environmental mindfulness. > "The idea of immersive environmental activism is particularly appealing to me." This initiative not only raises awareness but also donates 25% of ticket sales to conservation efforts, making it a powerful blend of art and activism. [Read the original article →](https://www.forbes.com/sites/sap/2024/06/06/the-surprising-role-planetariums-play-in-ocean-conservation/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-7) --- *FUTURE TRENDS IN ART AND TECH* --- ![German Design Awards 2025 Open Call for Entries with New AI Metaverse Category](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d3e236e3-e5b4-4b95-8734-9eab740bc9bf.jpg) ## German Design Awards 2025 Open Call for Entries with New AI Metaverse Category Companies, designers, architects, and agencies worldwide are invited to submit their projects to the German Design Awards 2025, which now includes a category for 'AI in Architecture and Metaverse Space Design.' Designboom highlights how these awards set standards in design and competitiveness, particularly with an eye towards digitalization and AI. Architecture has been adapting rapidly to the evolving role of artificial intelligence in artistic expression. From 3D modeling to virtual previews, the field showcases how technology can transform traditional practices. The new category in these design awards echoes this trend, recognizing the innovative applications of AI in architectural design. > "Architecture is a good example of trying to adapt to the changing perception of art when it comes to artificial intelligence." The deadline for submissions is 6 September 2024. [Read the original article →](https://www.designboom.com/design/german-design-awards-2025-open-entries-new-ai-metaverse-category-06-07-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-7) --- *THE LAST WORD* --- Thanks for taking the time to read this edition of The Intersect. Your feedback and thoughts mean a lot to me, and I look forward to hearing what you think about these topics. Let's continue the conversation and explore how creativity and technology can enrich our lives. Until next time, stay curious and keep creating. Warm regards, Juergen ### Welcomed In, Still Not Sure We Trust It URL: https://theintersect.art/issues/6/ Last updated: 2026-08-10T15:27:33.000Z This week, I've pulled together some reads that highlight the ongoing interaction between art and technology. We've got insights into the societal impact of big tech on the arts sector and a thorough exploration of how AI is reshaping music and visual arts. Plus, there's a look at how nature-inspired designs are influencing modern architecture and a practical project for those who enjoy blending old-school techniques with modern tech. Whether you're curious about the latest documentary on music piracy or interested in how AI is being used to authenticate classic art, there's something here for everyone. I hope these stories offer new ideas and perspectives for you. With all the recent negativity and "doom scrolling" about AI's impact on the arts, I'm aiming to provide a balanced view that includes both inspiration and practical information. --- *TECHNOLOGY IN MUSIC* --- ![Eminem, LeBron James Release ‘How Music Got Free’ Documentary Trailer](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9ecf6984-2361-4912-9ae1-95f50cec0420.jpg) ## Eminem, LeBron James Release ‘How Music Got Free’ Documentary Trailer Eminem and LeBron James are joining forces for a new documentary, *How Music Got Free*, set to premiere on Paramount+ on June 11\. The Hollywood Reporter calls it a fascinating look at how technology reshaped the music industry in the late '90s and early 2000s. This film, directed by Alex Stapleton, explores the impact of file-sharing technology on the music world, featuring insights from notable figures like Timbaland, 50 Cent, and Jimmy Iovine. I'm looking forward to this release because it highlights the massive impact of tech on creatives. As Eminem points out, when music piracy arose, it wasn't just artists who were affected but entire ecosystems of people relying on the industry. This mirrors what we see with the "democratization" of photography through digital cameras and now AI's influence on visual arts. > "If music should be free, I have an entire army of people that need their paycheck." — Eminem This documentary has received positive acclaim and promises to be an insightful watch. [Read the original article →](https://www.vibe.com/news/movies-tv/lebron-james-eminem-how-music-got-free-documentary-1234881103/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-6) ![Spotify’s Battle with Songwriters and Music Publishers Is Getting Complicated. Here’s a Recap.](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_61536207-343f-463d-8778-a64d10baee44.jpg) ## Spotify’s Battle with Songwriters and Music Publishers Is Getting Complicated. Here’s a Recap. Music Business Worldwide dives into the ongoing conflict between Spotify and US music publishers, highlighting the streaming giant's reclassification of its Premium tiers as 'bundles' to reduce royalty payments. The article traces the roots of this controversy back to the 2022 Phonorecords IV settlement, which allowed lower royalty rates for bundled services. Always love me a good “brief history of…” and this piece does just that. It shows how a seemingly minor legal provision can snowball into a major industry dispute. The reclassification has led to reduced payments for songwriters, sparking legal battles and industry-wide backlash. > "Spotify thinks it’s so clever looking for legal loopholes to cut songwriter pay. Sometimes when you are too clever, it blows up in your face." This unfolding story serves as a crucial reminder of the complex interplay between tech platforms and the music industry. [Read the original article →](https://www.musicbusinessworldwide.com/spotifys-battle-with-songwriters-and-music-publishers-is-getting-complicated-heres-a-recap/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-6) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Diversity Problem: Few UK Arts Workers Come From The Working Class](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_03e06130-42ce-476e-b327-f49c74e8cbd8.jpg) ## Diversity Problem: Few UK Arts Workers Come From The Working Class [The Guardian](https://cur.at/7tTlaPW?ref=theintersect.art) reports that working-class individuals are significantly underrepresented in the UK's arts and culture sectors. While 23% of the UK workforce comes from a working-class background, only 8.4% work in media and photography, and a mere 5.2% are in museums and libraries. It's an interesting perspective, but I wonder if the arts have ever been truly representative of the broader population. Artists often exist on the fringes, whether as working-class outsiders or elitist outsiders. This outsider status fuels counterculture and subversiveness in the arts. > "The outsider status is part of the perception we think of when we appreciate counterculture, commentary, and subversiveness in the arts." I'm not against mainstream representation in the arts, but I question if it's ever been that way, and maybe, it’s better left this way. [Read the original article →](https://www.theguardian.com/inequality/article/2024/may/18/arts-workers-uk-working-class-roots-cultural-sector-diversity?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-6) ![Public Radio’s Foundation Is Leaking. Some Real Planning Is In Order](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b1a1282e-26ae-49c5-b090-e16806925c09.jpg) ## Public Radio’s Foundation Is Leaking. Some Real Planning Is In Order Public radio is at a critical juncture, as highlighted by Abby Goldstein in Current. The analogy of a house needing urgent plumbing repairs reflects the foundational issues public radio faces today. Key funding sources like membership and underwriting, anchored to broadcast performance, are under threat due to shifting listener habits. I'm curious whether our European friends have something similar to our public radio. Here in the US, it's funded by only about 1% of government funds, yet it's often accused of being a lazy, partisan, government-funded entity. This couldn't be further from the truth. For many of us ardent public radio supporters, it is an essential part of our media landscape. > "Just like with the plumbing in our house, public radio can’t wait any longer to take action on the leaks in its foundation." While it's not quite art, I view public radio as a crucial component akin to podcasting. Keeping diversification in media, art, and other creative endeavors alive is essential. [Read the original article →](https://current.org/2024/05/its-time-for-public-radio-to-fix-problems-in-its-foundation/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-6) --- *AI IN VISUAL ARTS* --- ![Why AI Art Will Always Kind of Suck](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_25370e0e-f5a6-4020-a547-5bf1d1bdfe07.jpg) ## Why AI Art Will Always Kind of Suck AI tools like DALL-E aim to democratize art creation, but as highlighted in Vox’s article, these tools often produce hollow and uninspired results. The article questions whether AI can ever truly replace human creativity, pointing out the superficiality of AI-generated art. Our perspective aligns with Cory Doctorow's concern: > “How do we minimize the likelihood that an artist somewhere gets $1 less because some tech bro somewhere gets $1 more?” I also ponder the distinction between artists and artisans. Historically, artisans produced functional items, while artists conveyed deeper messages. AI can replicate the craft, but the essence and critical commentary of true art remain human realms. [Read the original article →](https://www.vox.com/culture/351041/ai-art-chatgpt-dall-e-sora-suno-human-creativity?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-6) --- *PERSONAL PROJECTS* --- ![Camera Lucida – Drawing Better Like It’s 1807](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_095f7077-a9e5-494f-bbd0-ce62f5a5e96b.jpg) ## Camera Lucida – Drawing Better Like It’s 1807 Chris Borge's article on Hackaday dives into the history and modern reimagining of the camera lucida, a device from the early 19th century devised by William Hyde Wollaston. This device allows artists to overlay real-world images directly onto their drawing surface. Borge’s contribution is a 3D-printable, portable version that costs around $20 to produce, making this old-school tool accessible for modern artists. Talk about old school. Except maybe that you need a 3D printer for something like this. > "The entire camera is only $20 to print and produce. Sounds like a fun project. And I wonder whether our local library has a 3D printer I could use for it." A mix of history and DIY innovation: perfect for blending tradition with tech. [Read the original article →](https://hackaday.com/2024/05/23/camera-lucida-drawing-better-like-its-1807/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-6) --- *ARCHITECTURE* --- ![Nature Reimagined](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_951c6689-3375-4511-99c3-81399034d18e.jpg) ## Nature Reimagined American biologist Edward O. Wilson's concept of "biophilia" is explored in the Denver Art Museum's exhibition, "Biophilia: Nature Reimagined," as detailed in **Aesthetica Magazine**. This exhibit features over 80 works from architects, artists, and designers who illustrate how natural structures influence modern design, emphasizing sustainability and biomimicry. I find this connection between nature and technology fascinating. The idea that "there's nothing new under the sun" fits perfectly here. It reminds me of Antonio Gaudi's work in Barcelona, where organic forms and structures stand in stark contrast to the boxy Bauhaus designs we're accustomed to. These exhibitions show how technology and AI are seamlessly integrated into art and architecture, enhancing our ability to replicate nature's complexity. > "Biophilia explores the human need to connect with the natural world and its ability to improve our health, spark the imagination, and strengthen personal and community relationships." This exhibition is a testament to how art and technology can merge to deepen our appreciation of the natural world. [Read the original article →](https://aestheticamagazine.com/nature-reimagined/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-6) --- *CREATOR PLATFORMS AND TOOLS* --- ![Adobe Lightroom gets ‘fast and easy’ AI editing on iPhone, iPad, and Mac](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_65a12569-6b63-46b8-850c-98c935b19cb3.jpg) ## Adobe Lightroom gets ‘fast and easy’ AI editing on iPhone, iPad, and Mac Adobe is introducing new AI features to Lightroom, enhancing its functionality across iPhone, iPad, and Mac, as reported by 9to5Mac. These updates include Generative Remove, Lens Blur, and a revamped mobile editing experience. As a lifelong Adobe user, I've seen the company lagging in adopting AI generative tools. Lightroom, traditionally a purist's photo editing tool, is now embracing AI for tasks like object removal and background editing. This shift is a natural progression in a world where AI-generated images are becoming standard. > "In a world where you can create images from text, editing original photos using AI does not seem so far-fetched." Adobe's move to integrate AI into Lightroom is a significant step, even if it feels a bit overdue. [Read the original article →](https://9to5mac.com/2024/05/21/adobe-lightroom-gets-ai-editing-iphone-ipad-mac/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-6) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![AI Determines Renoir And Monet Works Are Almost Certainly Fakes](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_dec2e84f-0ff2-4e04-ad91-47166d326836.jpg) ## AI Determines Renoir And Monet Works Are Almost Certainly Fakes Art Recognition's technology, as highlighted in Artnet, uses AI to detect forgeries of artworks by renowned artists like Monet and Renoir. The software analyzes various features such as brushstrokes, color variations, and object placement to identify fakes, marking a shift from traditional human expert authentication. Our focus is on how these AI systems are trained. They analyze numerous features from training images, capturing both broad elements and fine details. This process includes cross-validation, ensuring high precision by repeatedly testing smaller subsets to find the most effective model. > "This article covers a wide range of topics, but my focus today is on the technology involved in training an AI to recognize an artist's style." This technology has the potential to preserve art integrity, yet it raises questions about the commercialization of artistic styles. The ship may have already sailed regarding AI's influence on art creation and commercialization, so do you see this as a net positive? [Read the original article →](https://news.artnet.com/art-world/fake-paintings-renoir-monet-2483098?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-6) --- *FUTURE TRENDS IN ART AND TECH* --- ![How Refik Anadol and Digital Art Were Finally Welcomed into MoMA and the Traditional Art World](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_6cb2f880-8823-4d1c-9958-5c1ec181b252.jpg) ## How Refik Anadol and Digital Art Were Finally Welcomed into MoMA and the Traditional Art World Zachary Small in *Token Supremacy* offers a thorough exploration of the NFT boom's lasting effects on the art world. Small highlights how MoMA, despite its traditional image, has embraced NFTs, particularly through Refik Anadol's innovative work. Our take: The leftover impact of the NFT boom and the crypto crash on the art world is nicely examined in this article, which I found to be a worthwhile read. Even though MoMA might be seen as the stuffy establishment within the art world, the perspectives offered were insightful. > "Being open to new technology is part of our responsibility," said Paola Antonelli, MoMA's senior curator for the department of architecture and design. The article underlines the evolving relationship between art institutions and digital art, signaling a promising future for NFTs in the mainstream art world. [Read the original article →](https://www.artnews.com/art-news/news/how-refik-anadol-digital-art-entered-moma-ny-art-world-1234707079/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-6) --- *THE LAST WORD* --- Thanks for tuning in and exploring these intersections with me. Your feedback and thoughts always mean a lot, so feel free to share them. If there's a topic you're passionate about or something you think we should cover, let me know. Until next time, stay creative and curious. Warm regards, Juergen ### Cats, Robots, and Other Unlikely Creative Alliances URL: https://theintersect.art/issues/5/ Last updated: 2026-08-10T15:27:31.000Z Hey there, I'm excited to bring you this edition of "The Intersect." This time, we delve into how artists are using emerging technologies to redefine the boundaries of art, explore the music industry's stance on AI, and even look at some fascinating AI tools for upscaling old photos. There’s also a thought-provoking piece on why Hollywood shies away from biodiversity issues, and a quirky project on enriching cats' lives with robots. It's a diverse mix that I hope sparks your curiosity and inspires your own creative journey. --- *DATA DRIVEN ART* --- ![Digital Creativity from The Aesthetica Art Prize](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d3dd03a7-870c-4b8a-bb0b-d286c7fbb370.jpg) ## Digital Creativity from The Aesthetica Art Prize Aesthetica Magazine provides a look into the Aesthetica Art Prize, highlighting five artists using emerging technologies to explore art and tech intersections. These artists use their work to challenge our relationship with the digital world through thought-provoking installations and interactive experiences. These projects make us reflect on how data, robotics, and environmental issues integrate into art. For example, Manifest Data Lab’s "Carbon Chronicles" visualizes the historical buildup of CO2 emissions. Susan Eyre's "The Breath of Stars" reveals cosmic events through live digital interaction. > "Who owns the air?" asks the "Carbon Chronicles" by Manifest Data Lab, visualizing the atmospheric impact of fossil fuels from the industrial revolution to today. What strikes me is how these artists leverage technology not just for aesthetic purposes but to provoke critical thinking about our world. [Read the original article →](https://aestheticamagazine.com/digital-creativity-from-the-aesthetica-art-prize/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-5) --- *TECHNOLOGY IN MUSIC* --- ![Sony Music Demands Tech Giants Not Use Its Music To Develop AI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_0ef45a2c-eb32-4809-8e6d-e14ed8da1bde.jpg) ## Sony Music Demands Tech Giants Not Use Its Music To Develop AI Sony Music has reached out to over 700 firms, including Google and OpenAI, to check if their songs have been used without permission to develop AI systems, according to Deadline. This move highlights how music industry players are more aggressively organizing to safeguard their work against "unauthorized" AI use. But Copyright Law regarding the consumption of publicly available content by AI training bots has not yet been established. Currently, there is a trend of entities reaching agreements with the AI industry to license their content. For instance, Reddit recently engaged in such an arrangement. It is plausible that other entities, including those in the music industry, might follow suit. > "Licensing deals with AI companies may be the future, and the music industry is positioning itself well for that future… but what about the visual arts?" As copyright law evolves, expect this issue to eventually reach the Supreme Court. [Read the original article →](https://deadline.com/2024/05/sony-music-demands-ai-tech-not-use-its-music-1235922521/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-5) --- *FILM & VIDEO* --- ![Why Doesn’t Hollywood Make More Mass Extinction Films?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a68c6164-eecd-42a5-9c6e-aa616f7f76b4.jpg) ## Why Doesn’t Hollywood Make More Mass Extinction Films? An insightful article by Atmos Earth questions why Hollywood largely ignores the biodiversity crisis while producing numerous climate change films. It highlights how movies like *Waterworld* and *Snowpiercer* touch on environmental themes without delving into biodiversity loss. > "The politicization of everything, including climate change, has brought us to a point where popular media seldom addresses topics such as the decline of biodiversity." This issue is a central, slow-moving storyline in our lives, yet very few movies depict it. Hollywood's hesitance to tackle this subject leaves a significant gap in our cultural narrative. Is it like this in the EU and other countries as well? The lack of attention to biodiversity in film underscores the need for a broader, deeper conversation in our society. [Read the original article →](https://atmos.earth/art-and-culture/why-doesnt-hollywood-make-more-mass-extinction-films/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-5) --- *AI IN VISUAL ARTS* --- ![100 Kaleidoscopic Portraits From Creative Coder Espen Kluge](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_609f1dab-c57d-4619-97f3-de706c68d3f2.jpg) ## 100 Kaleidoscopic Portraits From Creative Coder Espen Kluge Most artists scoff at the idea that artificial intelligence (AI) is creative—but it depends on your definition. Norwegian artist and designer Espen Kluge is careful to separate fact from science fiction when it comes to digital systems that “create” art. > “My vision for the project was \[to\] generate beautiful and interesting portraits that tell their own story,” says Kluge, who instinctively shies away from the blocky, pixelated aesthetic that defines contemporary synthetic art. With intuition driving his process, Kluge created Alternatives, a kaleidoscopic collection of Javascript-generated portraits numbered at an even hundred. What strikes me here is that these images are not AI-generated in the traditional sense that we're accustomed to seeing so much of, such as through platforms like Midjourney or DALL-E. I appreciate that these were generated through JavaScript codes interfacing with other tools, and therein lies the creativity. Using AI as a toolset rather than just as a means to generate images from text prompts. [Read the original article →](https://notrealart.com/creative-coder-espen-kluge-alternatives-portrait-series/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-5) --- *PHOTOGRAPHY* --- ![This Free AI Service Upscales Grainy Photos Into Digital Delights](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9d73f9e4-e34a-470f-b1d4-1f8a9dfd145d.jpg) ## This Free AI Service Upscales Grainy Photos Into Digital Delights Stickermule's Upscale, highlighted in a recent article, offers a free service to enhance and enlarge grainy photos. This tool promises to make old, low-resolution images clearer and more usable within just 10 seconds. The original article comes from The Intelligence’s Cool Tools newsletter. My mom passed away a few years ago, and going through her belongings, we found a large library of black and white photos. I digitized these photos as best as I could. I've also tried upscaling some of the images and retouching and correcting them using AI tools. > "It's amazing how much time these tools can save in digitizing treasured family photos." Upscale is a valuable tool to consider, especially for those looking to preserve family memories. [Read the original article →](https://www.fastcompany.com/91123120/free-online-image-upscaler-ai?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-5) --- *FASHION* --- ![“Sleeping Beauties” Creative Consultant Nick Knight on Using Science and Tech to Evolve How Fashion Is Showcased in Museums](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_31d8ed3f-89fd-47a7-b788-6a0caac89250.jpg) ## “Sleeping Beauties” Creative Consultant Nick Knight on Using Science and Tech to Evolve How Fashion Is Showcased in Museums Nick Knight’s insights in Vogue explore how science and technology breathe new life into fashion exhibitions. He emphasizes that fashion is not just a mirror of society but a projection of our aspirations, reshaping our understanding of historical garments. I, for one, am all on board with the concept of designs leaving you excited for the future, but that does not have to be based on "futuristic" looks. > “I love exhibitions which leave you more excited for the future and not just wishing you’d been in the past,” Knight states. My wife Robyn and I recently finished watching the fantastic series "The New Look". It chronicles the rise of post-WW2 fashion designer Christian Dior, and his innovative designs inspired hope for the future and helped return spirit and life to the post-war world. Fashion’s future is brighter when it connects us with our aspirations. [Read the original article →](https://www.vogue.com/article/sleeping-beauties-creative-consultant-nick-knight-on-using-science-and-tech-to-evolve-how-fashion-is-showcased-in-museums?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-5) --- *INTERACTIVE ART* --- ![Cats and Robots: Science, Art, or Entertainment?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_4331acc9-522e-4518-8bc1-13237eda7afe.jpg) ## Cats and Robots: Science, Art, or Entertainment? A project called Cat Royale, featured on Ars Technica, explores how a robot can enrich the lives of cats. The experiment, a collaboration between Blast Theory and the University of Nottingham, placed three cats in a "cat utopia" with food, toys, and a Kino Gen3 lite robot arm. Our take on this project is that it highlights an interesting shift in our relationship with cats. Initially, we adopt pets hoping they’ll bring us comfort. Over time, we find ourselves creating elaborate environments to keep them happy and entertained, which in turn, makes us feel good. > "Our relationship with cats often morphs from a place of thinking that they will make us feel better, only to create environments that will make them feel good, or entertained. Which in turn makes us feel better." Watch the experiment highlights on YouTube for a closer look at the playful interactions. [Read the original article →](https://www.neatorama.com/2024/05/19/Cats-and-Robots-Science-Art-or-Entertainment/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-5) --- *SUSTAINABILITY IN ART AND TECH* --- ![Pul Pac Collaborates with Specialty Paper Company for Boosted Design and Functionality](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_eff0c2a3-d480-45fc-a718-f9e8f7bfb267.jpg) ## Pul Pac Collaborates with Specialty Paper Company for Boosted Design and Functionality PulPac is teaming up with Seaman Paper to create customizable Dry Molded Fiber packaging using colored and patterned barrier crepe paper, as reported by Natalie Schwertheim. This collaboration aims to provide sustainable packaging options that are both functional and visually appealing. Here at Intersect, we're enthusiastic about the intersection of art and design. This story caught my attention because it tackles one of my biggest frustrations: the excessive use of plastic packaging. The exploration of paper-based techniques, reminiscent of origami, for packaging numerous products currently packed in single-use plastic containers is inspiring. These innovations not only make packaging easier to open but also help reduce landfill waste. > "I actively seek out and prefer products that are marketed and packed in an environmentally responsible manner." This is a compelling step towards more responsible consumer goods packaging. [Read the original article →](https://www.packaginginsights.com/news/pulpac-collaborates-with-specialty-paper-company-for-boosted-design-and-functionality.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-5) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![13 Unique Museums Around the World](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_17ad9019-1f89-4472-a7db-74d9aa3f66b0.jpg) ## 13 Unique Museums Around the World Snacks, spies, and felines, oh my! These unique museums worldwide offer a window into artistic worlds of all kinds. Exploring the unique intersection of art and technology is sometimes about something other than the latest gadgets or AI innovations. Sometimes, it's about how technology captures and preserves human emotions. The Museum of Broken Relationships in Zagreb does just that, offering a digital and physical space that resonates deeply with personal histories. It showcases objects from past relationships, each accompanied by a story. > "This love existed," states Olinka Vistica, highlighting the museum’s mission to acknowledge and preserve personal history artifacts using traditional and digital storytelling methods. This somewhat "tongue-in-cheek" inclusion in our newsletter depends on a broader definition of technology — not just as a tool for efficiency or creativity but as a medium for emotional engagement and historical preservation. As highlighted by Marika Price Spitulski in her article for Nice News, this museum, and others like it, challenge us to see art as well as technology in new, more emotionally resonant ways. [Read the original article →](https://nicenews.com/culture/unique-museums-around-the-world/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-5) --- *FUTURE TRENDS IN ART AND TECH* --- ![SUMA Presents Podcasting at MuseumNext](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9ada1a64-7d4c-4240-950b-627ec0258e90.jpg) ## SUMA Presents Podcasting at MuseumNext At the MuseumNext Digital Summit, the Southern Utah Museum of Art (SUMA) demonstrated the power of podcasting to enhance and democratize the museum experience. In a detailed article by Kol Gibson, we learn how SUMA’s podcast, "Observations and Conversations," not only deepens the narrative around visual arts but also opens up these stories to those who cannot physically visit the museum. The podcast features diverse voices from artists to curators and beyond, enriching the listener’s understanding and appreciation of the exhibitions. > "Podcasting as an audio medium supplements and creates accessibility for what is primarily a visual medium," reflects on the innovative approach to making art more accessible and contextual. This perspective is crucial as it highlights the importance of embracing new media to extend the reach of cultural institutions. By integrating podcasting into their communication strategy, SUMA not only captivates those who are already engaged but also invites new audiences who seek deeper engagement with the arts. This method serves as a model for other institutions looking to broaden their impact and connect with the community more effectively. [Read the original article →](https://www.suu.edu/news/2024/05/suma-podcast-at-museumnext.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-5) --- *THE LAST WORD* --- Thanks for reading and being part of this community! I so appreciate the few enthusiastic followers we have, and I'm looking for feedback, and endorsement if you like this. So please let me know what you think, what we could do better, and share it with your artist or technology friends—that will let me know to keep going. Until next time, keep exploring the fascinating world where art and technology meet. ### When Data Learns to Sing URL: https://theintersect.art/issues/4/ Last updated: 2026-08-10T15:27:30.000Z In this edition of "The Intersect," we explore how the merging of art and technology continues to redefine creative expression. I love the connection between science and art, showing how artists use data and digital tools to expand the scope of creativity. I also curated articles that look at the intersection of visual and auditory experiences, offering new ways to understand and appreciate art. Finally, we discuss the importance of managing digital art and music metadata to protect artists' rights in the digital age. These themes highlight the ongoing evolution and enrichment of both art and technology. I hope you find these insights as thought-provoking as I do. --- *DATA DRIVEN ART* --- ![The Musical Science of Melvin Way’s Enigmatic Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f22f7750-0ea2-4a52-90f5-294bac07f88a.jpg) ## The Musical Science of Melvin Way’s Enigmatic Art Melvin Way's art, recently exhibited at Andrew Edlin Gallery, blends science and art in a unique way. His drawings, detailed in a Hyperallergic article, feature mathematical and scientific notations that defy conventional interpretation. Way's work, though created decades ago, offers a fascinating look into data-driven art from a pre-digital age. Our take on Way's work highlights its relevance even today. His pieces act as a precursor to the AI-infused "big data" art that is popular now. These drawings, created with simple ballpoint pens, resonate with a similar complexity and depth found in modern digital art. > "These drawings are not messages to be decoded but instead are renderings of our yearning to comprehend." Melvin Way's art shows that the fusion of science and art isn't new, but his approach remains timeless and thought-provoking. [Read the original article →](https://hyperallergic.com/the-musical-science-of-melvin-way-enigmatic-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-4) ![Art and Tech [Exhibition] - via our "Not Real Art" Website](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_1337c1e3-8e8e-4238-8018-fc1729f81894.jpg) ## Art and Tech \[Exhibition\] - via our "Not Real Art" Website In a recent Not Real Art exhibition curated by Kirsten Bengtson-Lykoudis, the interplay between art and technology is highlighted to celebrate artists like Alice Yuan Zhang, Ani Liu, and Michael Menchaca, who are at the forefront of integrating technology into their art. Now, given how frequently artificial intelligence has appeared in the news, I'm sure we're all experiencing a bit of AI fatigue. However, it's fun to recognize that technology and art have been convergent for decades. Some of you may not be aware that I work as a digital strategist for an art website called "Not Real Art." My role involves designing their website and infrastructure. One of the exciting initiatives we undertake there is the "First Fridays" exhibition series, which showcases various artists from our extensive database. I highly recommend checking out Not Real Art; they offer a grant program, host numerous podcasts, and have constructed a genuinely avant-garde, meticulously curated, well-edited website. This accomplishment is largely thanks to the efforts of the editor-in-chief, Morgan Laurens, and the co-curator responsible for the exhibition program and artist database, my friend Kirsten Bengtson. > "Many artists have skillfully blended technology with their craft to varying degrees." Kirsten, some time ago, curated an "Art and Tech" exhibition. I encourage everyone to explore this particular showcase to discover some truly innovative examples of how different technologies can intersect with art. [Read the original article →](https://notrealart.com/exhibition/art-and-tech/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-4) --- *TECHNOLOGY IN MUSIC* --- ![Shane Guffogg’s Synesthesia Transforms Paintings Into Music at Venice Exhibition](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_2b9c0761-fd49-4bad-9c1a-55e04ea8320d.jpg) ## Shane Guffogg’s Synesthesia Transforms Paintings Into Music at Venice Exhibition Shane Guffogg’s recent exhibition in Venice, covered by DesignBoom, explores the intersection of visual art and music through synesthesia. The 21 large-scale paintings are part of a fascinating collaboration transforming colors into musical compositions. Now here is an interesting collaboration between an artist, musician, and a programmer to emulate what it is like to have “Synesthesia,” which is a fancy name for when you experience one of your senses through another. For example, you might hear the name "Alex" and see green. In this case, Shane Guffogg “hears” colors. > "A visual symphony stemming from the collaboration between Guffogg, pianist Anthony Cardella, and AI software programmer Jonah Lynch." The result? Musical compositions were essentially composed by Guffogg’s paintings. [Read the original article →](https://www.designboom.com/art/shane-guffogg-synesthesia-transforms-paintings-music-venice-05-19-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-4) ![Needed: A Revolution In Music Metadata](https://theintersect.art/content/images/2026/07/Music_Meta_Data.jpg) ## Needed: A Revolution In Music Metadata Since the era of Napster, digital music has been plagued by inadequate metadata frameworks, as highlighted in a recent op/ed by Daouda Leonard on Music Business Worldwide. Leonard, who manages Grimes and founded CreateSafe, calls for comprehensive databases to protect artists' rights and ensure ethical AI use in the music industry. Our stance aligns with Leonard’s. Musicians and visual artists face similar challenges, especially with the [market being flooded](https://cur.at/YZz5qxu?ref=theintersect.art) with an influx of AI-generated content. The need for collaboration between artists, rights holders, and AI companies is crucial to maintaining artistic integrity. > "The danger lies in music and artworks being flooded by AI, making it difficult in many cases to distinguish between human-made and machine-made creations." Ultimately, the narrative of cooperation is vital for a future where technology and art thrive together. [Read the original article →](https://www.musicbusinessworldwide.com/the-integration-of-ai-into-the-music-industry-heralds-a-symphony-of-transformative-possibilities/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-4) --- *ART AND SPATIAL COMPUTING* --- ![Cannes Film Festival Fully Embraces XR](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_87121427-ac33-44a2-936d-a13624ba597b.jpg) ## Cannes Film Festival Fully Embraces XR The Cannes Film Festival has introduced an Immersive Competition category, embracing XR (VR, AR, and other variations of spatial computing). This new category and award highlight the festival's commitment to evolving storytelling mediums. The original article by Getty Images provides a comprehensive overview of this significant development in the film industry. Well, I learn something every day: I did not know about the term "XR." Apparently, it stands for spatial computing as a spectrum and includes VR, AR, and other variations. The fact that there's a dedicated category for this at Cannes is interesting. > "Illustrating these experiences at an awards ceremony would be quite challenging, somewhat akin to the marketing challenge Apple faced in depicting the experience created by their recently introduced goggles." This move by Cannes signifies a shift in how we perceive and celebrate storytelling, opening doors for new, immersive narratives. [Read the original article →](https://www.forbes.com/sites/charliefink/2024/05/13/cannes-film-festival-fully-embraces-xr/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-4) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![When Has Opening a Portal Ever Gone Well?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f5717386-bd9e-4ef7-adb6-2fb36e3ea67e.jpg) ## When Has Opening a Portal Ever Gone Well? The New York–Dublin livestream portal, part of Lithuanian artist Benediktas Gylys's initiative, was recently shut down due to inappropriate behavior (source: New York Magazine). This follows our earlier coverage of the [Portals Initiative in issue two](https://cur.at/g76OdLN?ref=theintersect.art). The concept and its potential truly inspired me, yet I was utterly unprepared for the abuse that, in retrospect, seems obvious. The commentary referencing sci-fi movies, where opening a portal is never a good thing, made me laugh out loud. The saying "life imitates art" holds here. > "The artist intended for it to help 'bring the world closer together.'" It prompts me to wonder what lessons we might learn from this imagined future experience. This last week has not been a good one for the "tech" side of the intersection between art and tech. There seems to be a significant negative shift happening: Consider the [Scarlett Johansson debacle](https://cur.at/BEHzrqm?ref=theintersect.art) involving OpenAI, an organization that had generally enjoyed a positive public perception. This incident has turned into a PR disaster, pitting the company against the "creator" class. It serves as yet another stark example of how things can go awry when technology and art intersect. [Read the original article →](https://www.thecut.com/article/what-happened-at-the-new-yorkdublin-portal.html?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-4) --- *AI IN VISUAL ARTS* --- ![AI “art” and Uncanniness —  a Meaning that Does Not Stem from Organizing Intention](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c8ea86b6-51f4-4ba8-81fa-37aecb8bc727.jpg) ## AI “art” and Uncanniness — a Meaning that Does Not Stem from Organizing Intention Cory Doctorow coined the term "Enshittification". Enshittification is the pattern of intentionally decreasing quality observed in online services and products such as Amazon, Facebook, Google Search, Twitter, Bandcamp, Reddit, Uber, and Unity. The American Dialect Society selected it as its 2023 Word of the Year. Here, Cory, who is also an artist, offers a nuanced perspective on AI art and copyright. His recent article gets into why AI art feels uncanny and how it differs from human-created art. Our take? Doctorow's balanced view on the copyright debate stands out. He draws parallels to the music industry's normalization of sampling, suggesting that copyright battles may not resolve the core issues faced by creative workers. > "If we decide to make a new copyright law, we’ll need to be very sure that we don’t accidentally crush these beneficial activities that don’t undermine artistic labor markets." Doctorow's insights remind us that while AI can mimic creativity, it lacks the depth of human intention. It's a long read, but Doctorow's thoughtful analysis makes it worth the time. [Read the original article →](https://doctorow.medium.com/https-pluralistic-net-2024-05-13-spooky-action-at-a-close-up-invisible-hand-5c873636eb47?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-4) --- *PHOTOGRAPHY* --- ![Behind the Curtain of the Global Arms Trade](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ee9fe4f4-9820-402c-ab1e-ff3a1a66dbdf.jpg) ## Behind the Curtain of the Global Arms Trade Photographer Nikita Teryoshin's new book, "Nothing Personal: The Back Office of War," offers a rare inside look at the global arms trade, capturing defense exhibitions worldwide. His work, highlighted in a recent Business Insider article, portrays the stark reality of war as a lucrative business. The juxtaposition in his photos feels incredibly subversive. Teryoshin’s skillful coverage of defense industry events reminds me of beauty pageants or county fairs, highlighting the bizarre normalcy with which these destructive weapons are showcased. > "Dead bodies here are mannequins or pixels on screens of a huge number of simulators," Teryoshin wrote in his book. "Bazookas and machine guns are plugged into flatscreens and war action is staged in an artificial environment..." As humanity heads towards more affordable and soon-to-be AI-powered weaponry, these images underscore a troubling trend: the "democratization" of access to increasingly destructive arms. [Read the original article →](https://www.businessinsider.com/photographer-nikita-teryoshin-offers-look-into-global-defense-industry-2024-5?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-4) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Early Color Photography, and the Man Who Revives It](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_027dd50b-275a-4f84-975b-5bb81c376f57.jpg) ## Early Color Photography, and the Man Who Revives It Stuart Humphryes has been reviving early color photographs, known as autochromes, which date back to the early 20th century. As reported by Vice, Humphryes' work has gained significant attention, leading to the release of his book, The Colors of Life. His enhancements bring new life to these historical images, making them accessible to modern audiences. It's pretty amazing that people took color photographs as far back as 1861, and mostly we don't realize this because all this work has faded. The fact that potato starch was used as an emulsion in this early photography is fascinating. The contrast between this early technology and the computer algorithms Humphryes uses today shows how far we've come, yet how connected we remain to those early experiments. "It's interesting to consider that potato starch was used as an emulsion in this early photography." Humphryes' efforts remind us of the enduring power of historical images. It's pretty amazing that people took color photographs as far back as 1861, and mostly we don't realize this because all this work has faded. The fact that potato starch was used as an emulsion in this early photography is fascinating. The contrast between this early technology and the computer algorithms Humphryes uses today shows how far we've come, yet how connected we remain to those early experiments. > "It's interesting to consider that potato starch was used as an emulsion in this early photography." Humphryes' efforts remind us of the enduring power of historical images. [Read the original article →](https://www.vice.com/en/article/early-color-photography-stuart-humphryes-aut/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-4) --- *THE LAST WORD* --- Thanks for joining me on this exploration of art and technology. Your curiosity and engagement help drive these conversations forward. Until next time, keep pushing the boundaries and exploring new creative horizons. PS, if you like this newsletter, please help me by sharing it! Stay curious and keep creating! ### The Intersect: Art in Tech & Tech in Art URL: https://theintersect.art/issues/3/ Last updated: 2026-07-14T17:38:26.000Z Welcome to the third edition of "The Intersect." First, a heartfelt thank you to our new subscribers—your support means the world to me! And before we start, here is a word about "AI"... > I understand that many of us are feeling a bit overwhelmed with the constant stream of AI news. It's everywhere, and it can be a lot to take in. However, it’s also a topic that's hard to ignore, especially given its growing influence on the arts. So, I aim to showcase some of the more thought-provoking and unusual ways this technology shapes artistic expression. From a view on AI democratizing filmmaking to innovative tools that help artists protect their work from unauthorized AI use, we’ve curated stories highlighting the dynamic interplay between art and tech. Each article offers a unique perspective on how these fields influence and enhance each other. Enjoy the read, and I hope these insights inspire your creativity! --- *FILM & VIDEO* --- ![Runway AI Film Festival Shows 'Taste of What's Coming' for Film](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8c3d0ad1-0de8-4d6b-b932-1dcee4a7da87.jpg) ## Runway AI Film Festival Shows 'Taste of What's Coming' for Film In a recent article by Britney Nguyen for Quartz, the spotlight was on the Runway AI Film Festival, where artificial intelligence plays a starring role in filmmaking. Nguyen explores how AI is reshaping the industry, not by replacing human creativity but by enhancing it. My take is that while many fear the rise of AI in creative industries, myself included, it's also possible to recognize its role as a facilitator rather than a replacement. AI in filmmaking, as highlighted by Cristóbal Valenzuela of Runway, is not about replacing actors or staff but about democratizing the overall process— turning what was once gatekept and unaffordably expensive into something accessible for more creators. This shift can lead to an explosion of unique stories and visual experiences, previously constrained by budget and resources. > “With AI specifically, it’s really important to start thinking about tasks instead of jobs,” Valenzuela said. “There are tasks within your jobs that will get automated, simplified, and will be better to do, and faster to do. If you’re a good creator who knows how to use these tools, then you can take advantage of them. I think that’s a better mental model to think about what’s coming, then to think about just replacement.” Valenzuela said writers’ concerns over being replaced with AI are valid, but have more to do with how the film industry does its business. It becomes more about the people who do this work, using these tools creatively to lower the cost of film production. This perspective could influence how we perceive the role of technology in artistic expression, broadening the scope of who gets to tell stories. [Read the original article →](https://qz.com/runway-ai-film-festival-artists-filmmakers-technology-1851469312?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-3) --- *PUBLIC ART* --- ![Brands and Artists Are Transforming Grey Urban Spaces Into ‘painted Cities’](https://theintersect.art/content/images/2026/07/2024-05-11_18-48-58.jpg) ## Brands and Artists Are Transforming Grey Urban Spaces Into ‘painted Cities’ The collaboration between artists and brands is reshaping urban environments into vibrant, engaging spaces. As reported by The Drum, Lee Bofkin of Global Street Art highlights the symbiotic relationship where brands fund and artists create, bringing dynamic murals to life across cities. This partnership not only beautifies urban areas but also offers artists a sustainable platform to showcase their work. > I often wonder about the relationship between brands and artists, or what it should be. Given that governmental grants are hard to come by and it's still difficult to make a living from creativity, the involvement of brands in transforming urban landscapes and sponsoring artists to produce large-scale murals is an art form that everyone can appreciate. These initiatives extend beyond aesthetics, embedding cultural narratives into the city fabric, making art accessible to all. [Read the original article →](https://www.thedrum.com/opinion/brands-and-artists-are-transforming-grey-urban-spaces-painted-cities?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-3) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Interrogating AI Bias through Digital Art – Just Tech](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ae0d8510-e9ed-448b-904c-a738abb90b32.jpg) ## Interrogating AI Bias through Digital Art – Just Tech In a detailed exploration by Nettrice R. Gaskins on the Social Science Research Council’s website, the insidious persistence of racial bias in technology, originating from historical photography and film techniques, is scrutinized. This article highlights how these biases have seamlessly transitioned into current AI technologies like facial recognition, often to the detriment of non-white individuals. My take on this is particularly focused on the ingenious method used by artists to address these biases through digital art. By recreating historical racial biases in photography and subverting them, the artists not only spotlight the issue but also provoke a necessary conversation on the legacy of such biases in modern technology. > "By using AI to recreate and comment on antique racial photography, artists underscore the troubling continuity of racial bias from early photographic practices to contemporary AI technologies." It’s a powerful reminder of the need for vigilance and proactive measures in AI development to prevent perpetuating these historical injustices. Emphasizing inclusivity in tech development is not just a necessity but a responsibility. [Read the original article →](https://just-tech.ssrc.org/field-reviews/interrogating-ai-bias-through-digital-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-3) --- *AI IN VISUAL ARTS* --- ![This Clever, “Poisonous” New Software Is Helping Artists Defend Their Work from AI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d166e19e-d5d9-41c3-a431-a75429272194.jpg) ## This Clever, “Poisonous” New Software Is Helping Artists Defend Their Work from AI In the evolving battle between art and AI, tools like Nightshade and Glaze are creating a new defense for artists. Developed by Shawn Shan and his team at the University of Chicago, these tools help protect artists' work from unauthorized AI scraping by distorting the data that AI models train on. While Glaze subtly alters artwork to prevent style mimicry, Nightshade takes a more assertive approach, intentionally misleading AI models to corrupt their learning process. > Tools like Glaze and Nightshade may be effective, but I do not like the “poison the base model” approach, and hope that new technologies emerge to block AI model training in a less overall destructive way. Despite their success, as reported by Fast Company, these solutions are not seen as long-term fixes. They represent a necessary step in empowering artists today, but the necessity of such drastic measures highlights the urgent need for robust legal and technological protections that safeguard creative rights without compromising the integrity of AI training processes. [Read the original article →](https://www.fastcompany.com/91118983/nightshade-ai-artist-software-tool-copyright-university-chicago-glaze-shawn-shan?amp%3Butm%5Fcampaign=rss+fastcompany&%3Butm%5Fcontent=rss&%3Butm%5Fmedium=feed&%3Butm%5Fsource=rss&partner=rss&utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-3) ![Apple's New Photos App Will Utilize Generative AI for Image Editing](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_8c5a4d84-605f-4cd0-820d-82a6ecb81638.jpg) ## Apple's New Photos App Will Utilize Generative AI for Image Editing Apple's latest update to its Photos app introduces a feature called "Clean Up," which leverages generative AI to enhance photo editing. As reported by AppleInsider, this tool simplifies the process of removing objects from images, potentially making advanced editing accessible to everyday users. This feature is expected to debut in the upcoming macOS 15 and could align with new iPad releases. > I think compared to “generative” image generation, this is one of the less controversial applications of AI as a mere helper tool in the process of photo editing. The integration of AI in Apple's ecosystem suggests a shift towards more intuitive user interfaces, where technology assists without dominating the creative process. [Read the original article →](https://appleinsider.com/articles/24/05/06/apples-new-photos-app-will-utilize-generative-ai-for-image-editing?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-3) --- *DESIGN* --- ![Appealing Transportation Design Concept: The Autonomous Sleeping Mobile](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d41fc0a5-2735-45ea-b3cf-5448e20348e9.jpg) ## Appealing Transportation Design Concept: The Autonomous Sleeping Mobile XOIO, a Berlin-based creative agency, has unveiled the Swift Pod, a conceptual autonomous vehicle designed for overnight travel. Drawing inspiration from the charm of night trains, the Swift Pod promises to cover long distances while passengers sleep, blending minimalism with comfort and modern technology. From an artistic and technological standpoint, the Swift Pod challenges how we perceive travel and space usage in autonomous vehicles. It's intriguing to think about these vehicles becoming part of our everyday life, much like how we've adapted to other advanced technologies. > I'm sure it's just an aerodynamic coincidence that this thing looks somewhat like a coffin. But I think that the public trust in autonomous vehicles will develop and increase over time until we become comfortable with it. After all, we are flying on Boeing airplanes. LOL. Imagine waking up at your destination fully rested, having traveled through the night in a vehicle that blends the nostalgia of railway sleepers with the edge of modern technology. [Read the original article →](https://www.core77.com/posts/132191/Appealing-Transportation-Design-Concept-The-Autonomous-Sleeping-Mobile?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-3) ![Where Does Photoshop Go From Here?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_a939227d-2af9-4ca6-aeb4-d0af3503094d.jpg) ## Where Does Photoshop Go From Here? Reflecting on a recent piece by Caroline Mimbs Nyce for *The Atlantic*, the evolving narrative of Adobe Photoshop truly resonates with me, especially as someone who embraced the software early and met the original creators. The article, "Where Does Photoshop Go From Here?", delves into Photoshop's journey from a pioneering photo-editing tool to its current challenge of integrating generative AI without losing its core user base. > As an early adopter of Photoshop, I find the discussion about its cultural and technical evolution particularly compelling. Nyce highlights how Photoshop has become less central in our culture as new technologies emerge, yet remains a robust tool that continues to adapt and thrive. Interestingly, while new AI tools are creating waves, Photoshop sustains its relevance by balancing innovation with reliability. This middle path might just be what allows Adobe to remain a key player in the creative industry despite the rapid technological shifts. [Read the original article →](https://www.theatlantic.com/technology/archive/2024/05/adobe-photoshop-generative-ai/678340/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-3) ![Buildner Competitions Revolutionize Housing Architecture with Modular Design](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_d267285a-053a-491b-8f4b-61e03f8973d1.jpg) ## Buildner Competitions Revolutionize Housing Architecture with Modular Design In a world grappling with the dual crises of affordability and sustainability, the MICROHOME competition, as highlighted by Buildner, offers a refreshing glimpse into the future of housing. These compact, modular homes are not just about downsizing physical space; they're about rethinking how we use resources and integrate technology to live more sustainably. > "I think we can all agree that the building tech around housing has not changed for decades, and is an area ripe for innovation." This initiative challenges the status quo by blending technology with minimalist design, proving that small can be both beautiful and functional. As we continue to witness the evolution of living spaces, these innovative solutions underscore the role of creativity in driving technological advancements in housing. [Read the original article →](https://www.designboom.com/architecture/buildner-competitions-revolutionize-housing-architecture-modular-design-archdaily-05-07-2024/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-3) --- *SUSTAINABILITY IN ART AND TECH* --- ![How to Be a Climate-Artist. What Should Artists Be Doing?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_30859e1d-0197-449e-9190-205fc43f9a48.jpg) ## How to Be a Climate-Artist. What Should Artists Be Doing? In Bill Crandall's piece on Counter Arts, he delves into the nuanced role of artists in addressing climate change. It's a delicate balance, avoiding the trappings of becoming preachy while still conveying a critical message. Here’s my take: subtlety in art can be profoundly effective. Rather than overt slogans or doom-laden visuals, there's unique power in the understated. Art that integrates industrial landscapes not only challenges our perceptions but does so without overt moralizing. It makes us pause and reconsider our surroundings. > "It’s understandable. Artists just want to do their work on their own terms, not mold it to some agenda, however noble. — Bill Crandall" Creativity can subtly influence perception and invite reflection, not through loud statements but through the compelling power of visual subtlety. *image by the Author generated with DALL-E* [Read the original article →](https://medium.com/counterarts/how-to-be-a-climate-artist-d8619ef004f1?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-3) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Stunning Restoration of ’Liberty Leading the People’ Returns to the Louvre](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_963d3397-f715-40bd-8c50-4262312857bf.jpg) ## Stunning Restoration of ’Liberty Leading the People’ Returns to the Louvre The recent restoration of Eugène Delacroix's "Liberty Leading the People" at the Louvre unveils more than just vibrant colors previously hidden beneath layers of varnish; it reveals the sophisticated techniques behind art restoration. Utilizing modern technologies like X-ray and infrared imaging, the process provided insights into the original layers and corrections made by Delacroix himself. This meticulous approach helps preserve the integrity of the painting while allowing us to see it as the artist intended. > I often wonder about the exact methodologies used in art restorations. The recent work on Delacroix's masterpiece at the Louvre Museum offers a fascinating glimpse into the blend of art and science involved in preserving our cultural heritage. So I did some research: **X-ray Imaging**: This technology was used to inspect the underlying layers of the painting. X-ray imaging helps in identifying previous restorations, underlying sketches, and changes made by the artist that are not visible to the naked eye. **Ultraviolet Radiation**: UV light was used to examine the surface of the painting. This method is effective in revealing the varnish layers and any previous restorations or alterations. It can also show up any areas of the painting that may have been touched up over the years. **Infrared Radiation**: Infrared imaging was utilized to see through the paint layers to the preparatory sketches beneath. This helps in understanding the artist’s original intentions and any changes made during the painting process. **Microscopic Examination**: The restorers used magnifying tools to conduct a close examination of the painting. This was crucial for detailed analysis and for undertaking precise restoration work, especially in areas requiring fine attention to detail. The restoration not only enhances the visual impact of the painting but also ensures its preservation for future generations, maintaining its role as a symbol of revolution and freedom. [Read the original article →](https://mymodernmet.com/restored-liberty-leading-the-people/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-3) --- *THE LAST WORD* --- Until next time, keep exploring the crossroads of art and technology. Feel free to join our Facebook page at [The Intersect on Facebook](https://cur.at/1nn0LCC?ref=theintersect.art). **We value your feedback:** What excites you about the fusion of art and tech? What concerns you? What would you love to see more of, and what less? What do you think of the idea for a podcast about these topics? Cheers for now, Juergen ### The Intersect: Art in Tech & Tech in Art URL: https://theintersect.art/issues/2/ Last updated: 2026-07-14T17:35:14.000Z This edition of "The Intersect" is packed with fascinating pieces where art meets technology and vice versa. From AI's impact on art creation to the sensory experience of Notre Dame's historic bells, there's a lot to explore and ponder. Why not see how these intersections of art and tech might inspire your next creative project? --- *TECHNOLOGY IN MUSIC* --- ![Artist Brings the “Mystical” Vibrations of Notre Dame’s Historic Bells to the Public — Listen to the Sonic Landscape](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_856ab41d-0205-4231-8694-d5e452a1445a.jpg) ## Artist Brings the “Mystical” Vibrations of Notre Dame’s Historic Bells to the Public — Listen to the Sonic Landscape By affixing a device called an accelerometer to each of the cathedral’s 10 bells, Fontana was able to record the harmonic pitches emitted through each bell’s vibrations. He then mixed those pitches together, adjusting the levels to be audible to human ears. > “The bells are acting basically like acoustic mirrors. They’re reacting to life around Notre Dame,” Fontana told Artnet. The resulting soundscape is evocative and visceral. The slow and prominent hum of the massive bells rings in the foreground, and ambient sounds of the surrounding area flitter in the background — the noise of construction in the cathedral, a musician’s melody from the street below, birds singing in the bell tower. “The personality changes with the weather and the time of day,” he said. [Read the original article →](https://nicenews.com/culture/artist-creates-soundscape-notre-dame-bells/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-2) --- *PUBLIC ART* --- ![New 'Portal' Sculpture to Provide Real-Time Live Stream Between New York City and Dublin](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8732bb18-1060-479f-aee9-633d683237c8.jpg) ## New 'Portal' Sculpture to Provide Real-Time Live Stream Between New York City and Dublin Portals are technology art sculptures. They connect to a network of identical sculptures all over the planet. Each Portal is located in the public space, providing a real-time, unfiltered livestream 24/7 that is frequently rotating between different Portal locations on Earth. Learn more at [portals.org](https://cur.at/uPNQ8UO?ref=theintersect.art). > “This real-time connection between two iconic public spaces in global cities on either side of the Atlantic will bring people together, both physically and digitally, becoming a captivating attraction for New Yorkers and visitors alike.” Presented by the Flatiron NoMad Partnership in collaboration with the New York City Department of Transportation’s Art Program (NYC DOT Art) and the Simons Foundation, the Portal will be installed on the Flatiron South Public Plaza at Broadway, Fifth Avenue, and 23rd Street, showing off the famous Flatiron Building. In Dublin, the Portal will face O’Connell Street, the city’s main thoroughfare, with a view of the General Post Office building and the Spire of Dublin. Dublin City Council delivered the sculpture as part of its designation as the European Capital of Smart Tourism 2024, according to a press release. Unfortunately, and almost predictably, there has been [some abuse via the live stream video](https://cur.at/LmznOFx?ref=theintersect.art), with inappropriate behavior on both sides of the portal. Here's hoping this will subside over time. [Read the original article →](https://www.6sqft.com/new-portal-sculpture-to-provide-real-time-live-stream-between-new-york-city-and-dublin/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-2) ![60 Seconds Of The Most Insane 3D Exposure Street Art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_4bdbd686-492e-4b14-a055-bb91594c9058.jpg) ## 60 Seconds Of The Most Insane 3D Exposure Street Art Insane 51, a Greek artist, is transforming street art with his innovative 3D “double exposure” graffiti. By employing this technique, pieces reveal different images when viewed through 3D glasses. His work, which delves into themes of human emotion and identity, showcases how technology can expand the boundaries of traditional graffiti. > 3D glasses are optional, but I think a clever and engaging way to combine tech with graffiti art. This approach not only enhances the visual experience but also engages viewers on a deeper level, encouraging a more interactive relationship with art. [Read the original article →](https://streetartutopia.com/2024/05/05/60-seconds-of-the-most-insane-3d-exposure-street-art/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-2) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![The Boy on the Tricycle: Bias in Generative AI](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_c2caa4f8-29a0-48b1-b053-daa14accc83d.png) ## The Boy on the Tricycle: Bias in Generative AI In a recent exploration by Nettrice Gaskins on Medium, the topic of bias in generative AI is dissected using a poignant personal experiment with the Midjourney AI tool. The results were eye-opening. When Gaskins reintroduced race into the AI prompt, the depicted environments dramatically shifted — a stark visual representation of the ingrained biases within AI systems. This experiment highlights not only the susceptibility of AI to social stereotypes but also the critical need for vigilant oversight in its development and application. > "It's amazing to see such a simple experiment actually demonstrating the built-in biases when producing visual images using AI tools." The implications of these biases extend beyond digital art into how we might perceive and interact with AI-generated content across various sectors. As we increasingly rely on AI, ensuring these technologies reflect a diverse and equitable view becomes paramount. This isn't just about improving technology but about fostering an inclusive digital future. [Read the original article →](https://nettricegaskins.medium.com/the-boy-on-the-tricycle-bias-in-generative-ai-d0fd050121ec?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-2) --- *AI IN VISUAL ARTS* --- ![Photography or ‘promptography’: A Year on From the Sony Awards Ai Furore, What Is the Nuanced View?](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_f29e4117-d7bf-4cf8-8a66-a069833cba40.jpg) ## Photography or ‘promptography’: A Year on From the Sony Awards Ai Furore, What Is the Nuanced View? A recent exhibition titled *Post-Photography: The Uncanny Valley* at Palmer Gallery in London delves into the burgeoning field of "promptography," where AI-generated images are crafted using detailed text prompts. This technique challenges traditional notions of photography and raises vital questions about originality and authenticity in the digital age. The term "promptography," as highlighted in the article by The Art Newspaper, encapsulates this shift towards AI as a creative partner rather than just a tool. > Prompt engineering is evolving into a language for creating visuals, including those that resemble photography. The debate around AI's role in the arts is polarizing. Some view these technological advancements as a natural progression, while others, like Boris Eldagsen who famously rejected a Sony World Photography Award, argue that AI-generated images should not be conflated with human-crafted photography. This tension underscores a broader discussion about the intersection of technology and human creativity, a theme that resonates deeply within the art community and beyond. [Read the original article →](https://www.theartnewspaper.com/2024/05/03/photography-or-promptography-a-year-on-from-the-sony-awards-ai-furore-what-is-the-nuanced-view?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-2) --- *PHOTOGRAPHY* --- ![A Picture’s Worth a Thousand Words … but Only Some of Them Tell the Whole Truth](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_77e2d378-7c7f-4295-bff2-2ea0e21e5e96.jpg) ## A Picture’s Worth a Thousand Words … but Only Some of Them Tell the Whole Truth A new exhibition titled "The Camera Never Lies" challenges our perceptions of historical photographs. Displayed at the Sainsbury Centre, it features iconic images that have been altered or manipulated, raising questions about the authenticity and integrity of visual documentation in the media. This includes controversial pieces like Yevgeny Khaldei's photograph of a Soviet soldier during World War II, which was edited to remove a watch from the soldier’s wrist, potentially to avoid accusations of looting. > The role of photographs as a reliable, trustworthy source is increasingly under threat, with editing technology now readily and cheaply available. Curators Tristan Lund and Harriet Logan present both original and altered versions of famous photographs, encouraging viewers to scrutinize the changes and consider their impact on public perception. The exhibition not only explores the technical aspects of photo manipulation but also delves into the emotional responses these images evoke, thereby highlighting the complex relationship between reality and representation as reported by The Guardian. [Read the original article →](https://www.theguardian.com/artanddesign/article/2024/may/05/a-pictures-worth-a-thousand-words-but-only-some-of-them-tell-the-whole-truth?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-2) --- *Q+ART & PODCAST INTERVIEWS* --- ![Chris Combs: Who Suffers and Who Benefits From New Technology?](https://theintersect.art/content/images/2026/07/original_ratio_extra_large_cc5d5c36-7c84-4d67-98dc-f3a580420ff6.jpg) ## Chris Combs: Who Suffers and Who Benefits From New Technology? In a recent interview by [Morgan Laurens](https://cur.at/Z5cnRGS?ref=theintersect.art) from our friends at NOT REAL ART, electronics artist Chris Combs shared provocative views on the dual-edged sword of modern technology. His candid reflections remind us of the need for a critical lens when integrating tech into our lives and art. Combs, known for his interactive sculptures, challenges us to consider who truly benefits from technological advancements. > "There are so many amazing technologies that have made it possible to learn anything, or find anyone, or capture the craziest parts of our world around us. And of course, in practice, these technologies are actually just used to share the best fart jokes—or for the completely dismal purpose of making rich people richer," Combs observes. Chris's skepticism extends to AI and machine learning—areas rife with potential yet perilous without ethical oversight. His cautionary stance is a clarion call for maintaining human-centric values in a tech-driven world. Ultimately, Combs's insights serve as a timely reminder: as we marvel at technology's capabilities, we must also guard against its potential to exacerbate inequalities and reduce human agency. [Read the original article →](https://notrealart.com/chris-combs/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-2) --- *TECH IN ART EDUCATION* --- ![As Cs Students Experiment with AI Coding Tools, Professors Say Courses Need to Focus Less on Programming Syntax and More on Problem Solving](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_91f21c4a-d43a-42e2-bb96-0cc3b487dd06.jpg) ## As Cs Students Experiment with AI Coding Tools, Professors Say Courses Need to Focus Less on Programming Syntax and More on Problem Solving Rina Diane Caballar, writing for IEEE Spectrum, highlights a significant shift in computer science education. Professors are now advocating for a curriculum that de-emphasizes syntax in favor of nurturing skills like problem-solving, design, testing, and debugging. This change is driven by the integration of AI tools in software development, pushing the boundaries of what it means to 'code'. > For the past few decades, many parent’s career advice and aspirations for their kids was often focused on obtaining an education in computer sciences and mastering coding skills. This evolution in teaching methodology isn't just a technical adjustment; it’s a cultural one, reflecting the broader impacts of technological advancements on educational paradigms. My own opinion is that creativity will grow to become a job security element in an increasingly AI-driven world. [Read the original article →](https://www.techmeme.com/240504/p17?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-2#a240504p17) --- *DIGITAL ARCHIVING AND ART PRESERVATION* --- ![Discover the Hallaton Helmet, a Newly Restored Piece of Ancient Roman Armor](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_9fbf295a-799c-4fa0-84f0-8e6f028ed672.jpg) ## Discover the Hallaton Helmet, a Newly Restored Piece of Ancient Roman Armor The Hallaton Helmet, an exceptional artifact from the Iron Age, has been brought back to life through the meticulous efforts of modern technology and traditional craftsmanship. Rajesh Gogna from De Montfort University utilized CAD 3D-design technology to create a resin model of the helmet, meticulously covering it in silver to mirror the original artifact. This replica, alongside another crafted using age-old metalworking techniques by archeologist Francesco Galluccio, offers a vivid window into the past, showcasing the helmet's original splendor. > I love this use of 3D technology which allows us to connect with history in a tangible way. These replicas, displayed at Harborough Museum, not only highlight the technological strides in historical preservation but also underscore the detailed artistry of ancient Roman military gear. The original helmet, discovered in 2001 and now restored, is part of the larger Hallaton Treasure which provides significant insights into the Roman influence in Britain. As reported by My Modern Met, these efforts in restoration and replication reveal the intricate links between past civilizations and present technologies, inviting viewers to experience history firsthand. [Read the original article →](https://mymodernmet.com/hallaton-helmet/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-2) --- *FUTURE TRENDS IN ART AND TECH* --- ![Shan Hua Exploring the Innovations in Creative Fashion Direction and Design](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_ffd5de0c-59f0-444a-b2d4-fbbe430aedde.jpg) ## Shan Hua Exploring the Innovations in Creative Fashion Direction and Design Shan Hua, a visionary in the realm of digital fashion, seamlessly integrates technology and art, crafting immersive narratives through her designs. Her approach transcends traditional fashion confines, allowing her to create expansive, virtual landscapes that redefine the boundaries of design and storytelling. > Unlike traditional fashion design, which confines creators to tangible materials, digital fashion empowers Shan to sculpt entire worlds with unparalleled autonomy. As highlighted in her recent feature by Vogue China, Shan is not just creating fashion; she's crafting a new way to experience and understand the world around us. In this digital era, Shan Hua continues to push the limits of what fashion can represent, proving that the future of design is as boundless as our imagination. [Read the original article →](https://www.coeval-magazine.com/coeval/shan-hua?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-2) --- *THE LAST WORD* --- Thanks for spending some time with us today. I hope these stories spark new ideas and broaden your perspective on how deeply technology and art are intertwined. Looking forward to hearing your thoughts and see you in the next edition! ### The Intersection of Art and Tech URL: https://theintersect.art/issues/1/ Last updated: 2026-07-14T17:38:01.000Z Welcome to the first issue of "The Intersect", a publication exploring the intersection of technology and the arts. As an artist, former photographer, app developer, and musician, I'm inspired by not only how technology influences creative expression, but also how artistic practices infuse innovation into technology. To our social media followers and podcast listeners, this newsletter is designed to extend our conversations about technology and creativity. I hope you, too, will find value and have fun exploring the practical interactions between creativity and technology. --- *DATA DRIVEN ART* --- ![Bridgestone uses tyres and spatial AI to literally drive new art](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_de7c9eae-69c8-4dfa-8b0a-6c75563efa2d.jpg) ## Bridgestone uses tyres and spatial AI to literally drive new art Bridgestone, in collaboration with Distillery, has taken an inventive approach by merging the utility of tyres with spatial AI to craft artwork. By recording data points from a car's dynamic journey, they've transformed a typical drive into an expressive piece of art. This method not only highlights the tyre's performance attributes like stability and control but also connects with the audience on a creative level. > "What is fast is indeed beautiful," remarks Lennard Kwek from Bridgestone. This project aims to bridge the gap between high-speed vehicle performance and visual artistry, presenting a fresh way for consumers to perceive the brand. I appreciate this blend of technology and creativity, especially as it opens new avenues for consumer engagement. Yet, I envision a future where such innovative concepts also emphasize sustainability. Imagine integrating data that reflects improvements in mileage or reductions in carbon emissions into the artwork, making it not only a spectacle but also a statement on environmental responsibility. This could potentially attract environmentally conscious consumers, adding a deeper value to the artistic expression. Such initiatives could redefine how products are marketed in the eco-friendly era. Campaign Asia covers this pioneering project, showcasing how brands can creatively leverage their products. [Read the original article →](https://www.campaignasia.com/article/bridgestone-uses-tyres-and-spatial-ai-to-literally-drive-new-art/np40uou14rtxbli97pvvhvhexj?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-1) --- *TECHNOLOGY IN MUSIC* --- ![What Scientists Are Telling Us About Our Relationship With Music](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_b0bfc3a5-2858-4f20-8e62-e71cb113a417.jpg) ## What Scientists Are Telling Us About Our Relationship With Music Recent studies highlighted by *El País* delve into the intricate relationship between music, emotion, and human cognition, revealing compelling insights into how our brains perceive and react to different musical experiences. For instance, the University of Zurich study discovered unique neural responses when subjects listened to live versus recorded music, suggesting that the presence of live performance enhances emotional connectivity. > It's fascinating that new scientific evidence supports what we all know: that emotions can be transmitted through sound. This makes me wonder whether similar data exists to show how emotions can also be transmitted visually. This exploration of music's impact on our emotional state not only deepens our understanding of auditory stimuli but also opens up questions about the broader sensory experiences. Could similar principles apply to our visual perceptions? The implications for therapeutic practices and artistic expressions are vast, potentially guiding future innovations in how we use art and technology to enrich human experiences. [Read the original article →](https://www.sfcv.org/articles/music-news/what-we-know-and-want-know-about-physicality-music?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-1) ![SAG-AFTRA Members Nearly Unanimously Ratify New Sound Recordings Code](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_8f34c069-8e4f-46f5-bb68-be0c6bf8125a.jpg) ## SAG-AFTRA Members Nearly Unanimously Ratify New Sound Recordings Code SAG-AFTRA members have overwhelmingly ratified a new Sound Recordings Code that includes significant provisions to protect artists against the misuse of artificial intelligence. The agreement, which spans until 2026, ensures that terms like "artist" and "singer" refer exclusively to human beings. Additionally, it establishes requirements for explicit consent and appropriate compensation when using digital replicas of artists. This move sets a precedent in safeguarding the integrity and contributions of human artists in an increasingly digital landscape. > "Among the provisions secured in the new contract are protections against artificial intelligence, which SAG-AFTRA said will go into effect immediately." The contract also covers major labels such as Warner Music Group, Sony Music Entertainment, Universal Music Group, and Disney Music Group. With a 97.69% approval rate, the community's support for these measures is clear. As reported by Deadline, this contract not only addresses immediate concerns but also aligns with broader industry shifts towards recognizing and valuing the irreplaceable role of human creativity in music and performance arts. [Read the original article →](https://deadline.com/2024/05/sag-aftra-members-ratify-sound-recordings-code-music-1235901167/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-1) ![Sheryl Crow on AI in Music: “Congress Needs to Act Now” (Guest Column)](https://theintersect.art/content/images/2026/07/permalink.png) ## Sheryl Crow on AI in Music: “Congress Needs to Act Now” (Guest Column) In line with the SAG-AFTRA Members ratifying the New Sound Recordings Code, Sheryl Crow recently chimed in to emphasize the urgent need for legislative action against the exploitative use of AI in music, as reported by The Hollywood Reporter. > My Own Take: I somehow feel like musicians are likely more organized and in a stronger position to collectively bargain about this than visual artists, who have much less "unionization density." While musicians like Crow rally for change at a legislative level, there is a notable disparity in advocacy strength among different artist communities. This suggests a pressing need for unified strategies that encompass all artistic disciplines, promoting a fair and ethical digital landscape. [Read the original article →](https://www.hollywoodreporter.com/music/music-news/sheryl-crow-ai-artificial-intelligence-music-guest-column-1235887876/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-1) --- *SOCIETAL IMPACT OF ART AND TECH* --- ![Fossil fuelled – the sticky relationship between art and the oil industry](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_3d1c6898-c487-4547-8ded-2bcd4103c192.jpg) ## Fossil fuelled – the sticky relationship between art and the oil industry Art's role as a societal commentator extends beyond the canvas, capturing the essence and ethics of its time. A recent article from Apollo's May 2024 issue examines the complex relationship between the art world and the oil industry, revealing how deeply industries influence cultural expression. The narrative weaves through historical instances where art served as both a beneficiary and a critic of the oil industry's patronage, mirroring similar dynamics seen today with big tech and social media. > We often discuss art and technology, and in today's context, this primarily means artificial intelligence. However, big tech, social media, and numerous other influences of industry and large corporations on the arts have also been a focus for the intersection of art and tech. The discourse around 'artwashing'—where corporations attempt to gloss over questionable ethics through cultural sponsorship—is particularly poignant. As galleries and artists reassess their ties with such sponsors, the article prompts reflection on the broader implications of funding in the arts, urging a reevaluation of where support is sourced and its influence on artistic freedom and integrity. For a deeper understanding, consider reading the full feature in Apollo, linked [here](https://cur.at/xieWaFL?ref=theintersect.art). [Read the original article →](https://apollo-magazine.com/art-british-oil-industry-shell-fossil-fuel/?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-1) --- *AI IN VISUAL ARTS* --- ![AI Fashion Photography - Adstronaut AI Creates Stunning eCommerce Images for Fashion Brands](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_99bdb986-1a8d-4850-ace4-5dab60db5c8e.jpg) ## AI Fashion Photography - Adstronaut AI Creates Stunning eCommerce Images for Fashion Brands Adstronaut AI, as discussed on TrendHunter.com, is harnessing AI to produce hyper-realistic fashion photography. This technology challenges traditional roles in the industry by enabling smaller brands to achieve high-quality visuals. These were previously exclusive to larger players being able to afford expensive editorial and fashion photo shoots. > There's much to discuss about the advancements in the field of AI-generated images, as I've observed over the past year from Mid-Journey's work and our articles on the ["Uncanny Valley"](https://cur.at/pt7bKb?ref=theintersect.art) effect. The rapid improvement of AI-generated images potentially shifts economic opportunities and shifts roles within the fashion industry. While this may pose a threat to traditional jobs like fashion modeling and photography, it also democratizes the capability for smaller retailers to compete at a higher level, which could invigorate new creative approaches and market dynamics. Reflecting on this as a former commercial photographer now focused on art, the essential question becomes whether the source of an image—AI or human—alters its value or impact. This progression invites us to reconsider the essence of artistic expression and the authenticity of our shared visual experiences. As technology blurs these lines, finding ways to maintain the human connection in art becomes increasingly significant. [Read the original article →](https://www.trendhunter.com/trends/adstronaut-ai?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-1) --- *DESIGN* --- ![Apple Designers as International Design Dignitaries & Custodians of Art Process Intelligence](https://theintersect.art/content/images/2026/07/twenty_by_nine_extra_large_11883542-d75e-431b-80bb-41e3cf93e358.jpg) ## Apple Designers as International Design Dignitaries & Custodians of Art Process Intelligence Apple designers are recognized not just for their skills in technology but for their deep understanding of cultural nuances across the globe. This expertise allows them to create products that resonate with a diverse international audience, acknowledging and celebrating cultural differences through thoughtful design. > "Apple designers...act as guardians of cultural intelligence," Michael Darius notes in his article on Substack, underscoring their role in ensuring Apple’s products reflect a broad spectrum of human expression and heritage. While the idealized view of Apple designers as custodians of cultural intelligence is compelling, personally I wonder about the practical aspects of their day-to-day roles. Having worked for Apple myself back in the day, albeit in a non-creative role, the reality on the ground might differ, with the pressures and dynamics of corporate design possibly diluting the pure implementation of these ideals. Nonetheless, the aspiration to integrate cultural sensitivity into design practices highlights a crucial direction for technology companies: to consider the cultural contexts of their users seriously. This approach is not just about making products that are globally appealing but also about respecting and valuing the diverse ways people interact with technology. By striving to embed cultural insights into their design process, Apple sets a standard for the industry, advocating for a blend of innovation and cultural awareness that enhances user experience and fosters global connectivity. [Read the original article →](https://skeuomorphic.design/p/apple-designers-as-international?utm%5Fsource=theintersect.art&utm%5Fmedium=newsletter&utm%5Fcampaign=issue-1) --- *THE LAST WORD* --- Thanks for joining me in this exploration at the crossroads of art and tech. If something sparked your interest, I'd love to hear your thoughts. Reach out and share your reflections or topics you're curious about for future editions. Until next time, keep connecting the dots in your own creative journey. Cheers, Juergen