Tokens is about all those things that are moneyish—monetary-like exchanges that are tracked and programmable, shady and social, hard coded and beyond borders.
Romcom The Broken Hearts Gallery is aware that we are chained to technology, yet it shrouds social media in the kind of movie magic that can revive the ailing genre.
Neutral Milk Hotel’s ambiguous 1988 album, In the Aeroplane Over the Sea, suffered a memeified atrocity. But the tides of public opinion rise and fall, and memes come and go.
McKenzie Wark’s understanding of ravespace as a constructed situation in nonlinear ketamine-time comports with my experience raving on weekends as a freshman in college.
In The Listeners, scholar Brian Hochman narrates a history of surveillance in the United States by means of technological cunning up to 2001.
The popularity of nuclear apocalypse is nostalgia for a time when our worries were wrapped in a single nuclear package, and all we needed was a bunker and a dream.
Simultaneously inside and outside by either choice or circumstance, punk has always had paradoxical – sometimes hostile – relations with TV, radio, and the internet.
Did ancient Norse mythology anticipate the future rise of blockchain? Maybe not literally but figuratively, it’s interesting to consider.
In this interview with Jan St. Werner, the veteran electronic musician discusses how Mouse on Mars have attempted to blur the distinction between machine intelligence and empathy on their new album AAI.
So you think you know the difference between right and wrong? Sure about that? Juan Enriquez's Right/Wrong, excerpted here courtesy of MIT Press, might shake you loose from your convictions.
Shortly after the reactor explosion in Chernobyl in 1986, officials in Belarus offered up an argument that will be hauntingly familiar to those tracking the spread of COVID-19.