ZKM – Center for Art and Media Karlsruhe & ZDF Digital Kunstalle ‘Computable- Incomputable’

03 11 2020//

Computable-Incomputable 3d gallery interface with interactive cellula Automata

Kindly invited by curator by Teresa Retzer of ZKM| Zentrum fur Kunst and Media, Karlsruhe, Germany: Video perpetual browse_r_2 (2019) included Computable-Incomputable Digitale Kunstalle at ZDF (Zweites Deutsches Fernsehen, German public-service television broadcaster) virtual walkthrough exhibition Oct 2020 – Oct 2021. The online visitor may discover artworks by moving around a 3d virtual environment and by clicking on ‘cellular automata’:

View Computable-Incomputable HERE

Is the universe, a conglomerate of cellula automata? And if so, is the human subject completely computable? This exhibition, featuring born-digital artworks largely from the ZKM collection (Zentrum fur Kunst and Media, Karlsruhe), offers insight into artistic and scientific responses to these questions, and shows how computers help visualize alternative worlds that can become new realities.

Video still perpetual browse_r_2

Full exhibition text

Is the universe a big computer? The question is not new: Konrad Zuse, pioneering computer scientist, described the universe as a large cellular automaton back in 1969. In his opinion it is imaginable as a discrete computational system composed as cells that evolve following pre-set rules by considering the states of other cells in their locality. Cellular automata can compute functions and solve algorithmic problems. Zuse called his hypothesis “calculating space” (Rechnender Raum), and it can model the universe as a combination of many small computers (in this case equivalent to automata) that adds up to one large computer.

This exhibition reflects the idea of calculating space, but also Seth Lloyds “programmed universe” which proposes that the universe is one huge quantum computer. With the development of computation and graphical user interfaces, it turns out not only that reality can be described as a computational system, but that sets of computing “executables” can generate new virtual realities, This capability of computers has fascinated artists, who have been exploring generative aesthetics for half a century to date.

While the computability of environments now seems clear, the question of whether the self can be computed hasn’t been answered in the affirmative, althought the promise of artificial intelligence already threatens to reproduce the thinking subject. Despite the fact that current computers are unable to simulate human thought, and so the self as yet remains incomputable, this recognition has functioned as a powerful stimulant for speculative fiction.

The collection at ZKM| Karslruhe (Zentrum fur Kunst and Medien/ Center for Art and Media), focuses on media art: an artform defined by the medium with which it is created, distributed, and received. The apparatuses created by computer-related by computer-related disciplines emerging throughout the second half of the twentieth century – such as automata studies, cybernetics, information and communication technologies, and artificial intelligence – have gradually expanded the definition of media, and made the computer one of the most important tools and media for visual arts.

Computable – Incomputable showcases software-based digital artworks in a computer-generated environment. A digital copy of an atrium at ZKM| Karlsruhe is populated by multiple cellular automata, generated completely algorithmically. The exhibition support structure, just like the artworks it displays, reflects upon its apparatus and medium: the computer.

ZKM Curators: Livia Nolasco-Rozsas, Teresa Retzer

View computable-Incomputable HERE

The London Group Annual 2020

15 10 2020//



14 Oct-14 Nov, 2020

The London Group Annual opens exhibiting the work of 68 members of the Group.

This year the exhibition is online:

Events: Artist Talks on Zoom every Sunday 18 Oct, 25 Oct, 1 Nov and 8 Nov from 8PM (Details to be announced on website soon).

The London Group is the UK’s longest running and most prestigious artists’ collective. It was formed in 1913 by thirty-two artists from the Camden Town Group, the English Vorticists and a number of independent artists which included Jacob Epstein, Walter Sickert and Henri Gaudier-Brzeska. For the first time women artists were involved in the development of the Group from the outset. Its aim was to create an independent artist-led exhibiting body in opposition to the Establishment, aka the Royal Academy. The Group, which has survived two world wars and a pandemic, has been an integral force in nurturing and supporting diverse and emerging artistic talent throughout the UK.

Exhibitors: Moich Abrahams, Ade Adesina, Wendy Anderson, Victoria Arney, Victoria Bartlett, Bryan Benge, Slawomir Blatton, Paul Bonomini, Clive Burton, Stephen Carley, Peter Clossick, Tim Craven, Sandra Crisp, John Crossley, Philip Crozier, Jeff Dellow, Beverley Duckworth, Mark Dunford, Angela Eames, James Faure Walker, Eric Fong, Marenka Gabeler, Genetic Moo, Tricia Gillman, Susan Haire, Alexandra Harley, Julie Held, Aude Hérail Jäger, Martin Heron, Alexander Hinks, Chris Horner, Gillian Ingham, Annie Johns, Judith Jones, Matthew Kolakowski, Jockel Liess, Pauline Little, Amanda Loomes, Jeff Lowe, Bethany Marett, C. Morey de Morand, Kathleen Mullaniff, Darren Nisbett, Eugene Palmer, Ian Parker, Janet Patterson, Sumi Perera, Michael Phillipson, Chris Poulton, Alex Ramsay, Maya Ramsay, Victoria Rance, David Redfern, Tommy Seaward, David Shutt, Philippa Stjernsward, Suzan Swale, David Tebbs, Paul Tecklenberg, David Theobald, Philippa Tunstill, Bill Watson, Neil Weerdmeester, Anthony Whishaw RA, Susan Wilson, Erika Winstone, David Wiseman, Carol Wyss.

City Rooftop Garden Retreat [video Loop]

19 08 2020//

For The London Group online exhibition “Wish You/We were Here/There” I contributed a video still cropped to postcard format 1748 x 1240 pixels. This is the actual video 1920 x 1080 pixels, duration 00:01:06

“Wish You/We were Here/There” invited submissions of postcard sized art based on where artists see themselves now that the lockdown is easing, where they have been or want to go.

A virtual and imaginary space to be in current times changed by the pandemic

Wish you/ we were here/ there – The London Group Postcard Exhibition

18 08 2020//

Just launched! The London Group’s new online exhibition curated by Sumi Perera LG.

“Wish You/We were Here/There” invited submissions of postcard sized art based on where artists see themselves now that the lockdown is easing, where they have been or want to go.


Take a journey through 12 walls of work from 39 members of The London Group.

See works all contemplative of the current climate we live in, through the medium of video stills, sound recordings, sculptures, found objects, photos, prints, drawings, paintings & poetry.

-explore ideas of shifting borders
-take urban & rural walks
-sense nostalgia, yearning & loss
-follow protest marches & demonstrations
-visit the landscapes (both internal & external, physical & mental)
Click on each work to read its backstory…

This is Phase I of a 3 part exhibition, that will tour as an offline exhibition & form a limited edition of collective works.
Galleries & Artist Collectives (National & International) interested in hosting an exchange touring exhibition, please contact The London Group

Over the Real- Videoarte Festival

17 08 2020//

Very pleased that Eirini Olympiou (ADAF, Athens, Greece) has selected my video perpetual browse_r 2 for Over The Real videoarte festival, Lucca, Italy

The Fifth Edition of Over The Real – International Videoart Festival will be held in Lucca from 30 September to 4 October 2020. Also this year the event, in partnership with the Lucca Film Festival Europa Cinema, will present the most significant lines of research that have emerged in the last years in the international panorama of the audiovisual arts and intermediary performances

More information on the festival website HERE

Full lineup of video artists HERE

INVERT/ EXTANT – Transmissions

11 08 2020//

I was Kindly invited by Jared Pappas – Kelley Artist, writer, Senior Lecturer, PhD to contribute a piece of writing for TRANSMISSIONS project, INVERT/ EXTANT Press.

Within the piece which also contains several images and embedded video I reflect upon my practise regarding digital process and integral concepts such as data tracking, and contemporary media saturation – All revised for the changed World of Covid-19 HERE

TRANSMISSIONS is currently an online project and collected writings will eventually be published as a book next year 2021.

About us

invert/extant is a small publisher based in the UK that seeks to shift perspectives on new writing and art.

We are looking for writers adept at changing how we see and understand the world as well as readers who are up for this challenge.

‘Bataille shed happy tears for a cousin he does not know, whom he thought dead on a ship sinking, only to discover he still lives, to be here yet not, in that moment when what we know collapses yet we are still here.’ Puzzled by his reaction with this shifting of perspective—and linking it to the allure of art in general, he observes impossible and yet there it is.

This shift is at the center of what we do. invert/extant fosters this unanticipated capacity to take our breath away, to catch us unawares, revealing the world inverted through its subtlety, truth, or inventiveness.


‘Fuzzy Phone. GIF’ in THE GALLERY – The London Group website

10 08 2020//

Thanks to Nicola Schauerman LG for inviting me to inhabit THE GALLERY in these strange times with my ‘Fuzzy Phone .GIF‘. This work is part of an animated .GIF series created in 2016 but has not been uploaded for online viewing before now.

This is an online gallery for London Group members. It will present 3 to 4 shows per year which are curated and launched through our Newsletter. Members will be invited to take over this space to create a unique art work of words / images / video / sounds and anything else that can exist online.


Click HERE to view

Fragments of borrowed online visuals are layered together and explore the limits of motion, transparency, compression, and pattern dithering. A large fuzzy mobile phone, odd metal tree-sculpture photographed in the city and other disconnected fragments are animated across an 8-frame timeline.

S. Crisp

PS. Don’t forget to browse THE GALLERY archive afterwards HERE

ART OF NO LIKES – Project Launch

02 07 2020//

I’m delighted to announce that my contribution to THE ART OF NO LIKES curated by HERVISIONS has just launched on Arebyte Gallery’s AREBYTE AOS (Arebyte on Screen)

Included are two recent perpetual browse_r videos, 3d renders from DATA_SCAPE series and new zoom images – The zooms explore the compromise and image compression that happens when uploading work online when often important detail is lost in the process.

AOS is a platform dedicated to artist videos, multimedia experiences and curatorial interventions utilising digital formats. AOS invites web-based artists, digital artists and curators from around the world to experiment with new forms of creating, curating and presenting art online. 

HERVISIONS is a femme-focused curatorial agency facilitating online and offline experiences and collaborations with partners to research and produce innovative commissions, exhibitions and events working across new and emergent technologies and platforms with a strong focus on the intersection of art, technology and culture.

Arebyte website


Zoom detail image of 3d render. In this zoom image, tiny emoticons can be seen texture- mapped into the surface of the 3d structure that are only usually seen in the full resolution image when viewed offline. I’ve made the images as high resolution as possible for THE ART OF NO LIKES so they can be expanded when viewing on any device. Do check out the project for more images and further writing about the work. —–>

Or see more info about AOS and HERVISONS in previous post THE ART OF NO LIKES – (AOS) Arbyte on Screen curated by Hervisions

GENETIC MOO-Microworld @ Home [video out-takes]

16 06 2020//

GENTIC MOO are getting through Covid – 19 lockdown by creating weekly live You Tube broadcasts – MICROWORLD @ HOME, which incorporate a multi-camera setup, live improvisation and coding to evolve fascinating multi-layered digital ecosystems seeded from their blacked-out living room in Margate, England, UK.

Beginning with the first streaming 2 hour broadcast 2 May 2020, this week’s broadcast 13 June 2020 LIFE AND DEATH ON THE SUGARSCAPE was inspired by a chapter from Joshua M. Epstein & Robert Axtell’s book Growing Artificial Societies.

Each week artists are invited to add out-take clips into the mix so I’m delighted that a few of my own appeared during this week’s broadcast and also upcoming Saturday 20 June 2020 entitled THE WORLD, THE FLESH AND THE DEVIL . TUNE IN EVERY SATURDAY AFTERNOON 2PM – 4PM GMT HERE

Continuing adventures in digital ecosystems live from Margate. This week we explore life and death on the sugarscape, including creative coding chaos on the grid, collaborative mashups and Genetic Moo’s ever-expanding virtual menagerie. Every Sat 2-4pm. Participating artists: Sean Clark, Julia Schauerman, Simon Rae, Ed Kelly, Sandra Crisp, Jonathan Armour

Genetic Moo

THE ART OF NO LIKES – (AOS) Arbyte on Screen curated by Hervisions

11 06 2020//

COMING VERY SOON, SUMMER 2020: Very pleased to be invited ART OF NO LIKES project curated by Zaiba Jabbar HERVISIONS as part of ARBYTE ON SCREEN (AOS) Arbyte Gallery, London.

The project will include PERPETUAL BROWSE_R and PERPETUAL BROWSE_R_2 videos plus a selection of images from recent DATASCAPE series, and some new zoom images that show hidden detail not usually visible when work is viewed on a phone or monitor screen. The work will be exhibited AOS/ Hervisions area of Artbyte gallery website and is in-progress right now, I will post the launch date on the NEWS section of this website so do check back soon!

About AOS

AOS is a platform dedicated to artist videos, multimedia experiences and curatorial interventions utilising digital formats. AOS invites web-based artists, digital artists and curators from around the world to experiment with new forms of creating, curating and presenting art online. 

The artists and curators of AOS present past projects, work-in-progress and new work; often addressing current trends and theoretical discussion in art, the work on AOS also branches into political, economic and social topics as a way of mapping a collective territory.’ Direction: Rebecca Edwards, Nimrod Vardi

The Art Of No Likes

Art of no likes, arbyte on screen, hervisions

‘The Art Of No Likes is an ongoing critical investigation into systems of curating and a reflection on the implications of standardisations within social media infrastructures that harvest, manifest and intertwine the production of exhibitions in time-based media. The project shines a critical gaze on the gatekeepers of these infrastructures and associated “economies of like” and related systems of value judgments inherent to capitalist social media platforms. Moving through industries and across interdisciplinary practices the The Art of No Likes offers up an analysis of the “economy of like” across communication formats, experience and environment.

During this online residency at Arebyte, HERVISIONS will present a shape shifting “in conversation” dialogue of shared narratives with artists and cultural practitioners in response to the provocation of The Art of No Likes. The results will be “exhibited” at Arebyte Gallery IRL next year 2021.

The top down, confined terms of engagement and rigid architecture of social networks stunts our communication ecologies. What falls through the cracks? As curators how can we open focus on the remediation and semantics of digital performance and the complexity of emerging cultural shifts, digital archeology, interdisciplinary practice and materiality of the protocol and standardisation of the “economy of likes” residing within the logic of digital audiences.

Conceived by curators Rachel Falconer and Zaiba Jabbar with assistance from Rebecca Edwards with an aim to bring discussions of fluid and unpredictable relationships. Over the coming 3 months expect newly commissioned work, performances and text-based outcomes. Stay tuned for more!

Zaiba Jabbar is an award winning director, independent curator and founder of HERVISIONS (est. 2015). With over a decade of experience in the film and media sectors, her curatorial practice is an investigation into how people in the margins are using technology to create art outside of traditional contexts and making space for themselves in the digital environment. Jabbar was curator in residence at LUX in (2018) and is a board member of Abandon Normal Devices.

HERVISIONS is a femme-focused curatorial agency facilitating online and offline experiences and collaborations with partners to research and produce innovative commissions, exhibitions and events working across new and emergent technologies and platforms with a strong focus on the intersection of art, technology and culture. Previous exhibitions and partners include, Art Night, Tate Modern, Tate Britain, i-D x Chanel, Boiler Room, LN-CC, BFI, Gossamer Fog, The London College of Fashion, isthisit?, Mira Festival, LOOM Festival and Google Arts and Culture.’

View this post on Instagram

Sneak peek – next up as part of The Art of No likes artist Sandra Crisp @sandra_crisp will be sharing unique iterations of their projects DATA_SCAPE and perpetual browse_r & perpetual browse_r_2 during the HERVISIONS @hervisions_ residency. ⠀ ⠀ Their work uses borrowed visuals downloaded from the Net which are reworked over time – Using a process of sampling/recycling/drawing and layering the diverse elements of media images, text/graphics, video screen-casts, and camera-phone photos etc. different open-source/ free and proprietary software in experimental ways. Recent practice includes video, 3d visuals, GIFs, code-based work and and printed digital output onto various media. Always working within a minimal set of digital tools in ways that critique the software or contradict its intended purpose/function. Serendipity offered by the medium is also pivotal and inspired by the alchemy of previous lithography and etching practice in the area of fine art printmaking. ⠀ ⠀ “The Art of No Likes” takes the form of an “in conversation” with a series of cultural practitioners as an evolving sketchbook of responses. The research-based project is an ongoing investigation and a reflection on the implications of the inherent standardisations within systems that harvest, manifest and entwine in-time based media.⠀ ⠀ #arebyte #aos #onlineresidency #digitalart #digitalcommunity #hervisions #brennamurphy #feminist #femme #loop #newmedia #newmediaartists #movingimage #theartofnolikes #artandtechnology #speculativeevolution #femme

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ADAF Athens Digital Art Festival

11 06 2020//

Good news, perpetual browse_r_2 has been selected for ADAF 16th edition | TECHNOTRIBALISM in Greece, many thanks to video art curator Eirini Olympiou . During global lockdown, the festival will be held online until the current situation prohibiting all large events and gatherings is eased.


The 16th international festival for digital arts of Greece, Athens Digital Arts Festival (ADAF), the pioneer longest living institution dedicated to digital culture in the country (est.2005), will be implemented also ONLINE, introducing a new digital institution. 

Since the new era is here, the international festival for digital arts in Greece, Athens Digital Arts Festival has decided that its 16th edition titled Technotribalism, will be presented also online. One exclusively online edition, the first one in Greece, titled ADAF ONLINE | Technotribalism, will take place from the 10 of July till 10 of September and will be accessible to everyone through the internet.

ADAF ONLINE, evolving this year’s thematology “Technotribalism”, will host pieces from  Video Art, Animation, VR (360 video), Performances, Web Art, Games, Digital Image, talks, workshops, ADAF Kids for Children & their Parents, and Festivals of the world. 

More than 5,500 art proposals from more than 100 countries around the world will be the source for the ADAF 2020 program selection.

With the festival theme “Technotribalism”, more evident than ever in the COVID era, where every biometric and every scientific piece of data is a of vital importance as well as every digital footprint feeds the hunger of social distancing, the Festival with it’s thematic seeks to promote collectivity and openness towards knowledge, art, science as fundamental pillars upon we shall built our new data driven world.

In addition ADAF, always seeking physical contact with the public, has found the way to connect with safety the physical and the digital space, with the aid of cutting edge technology.

Stay tuned to learn how you will live the phygital ADAF experience in Athens.

Because we are the Technotribal generation!

Be one of the first who will enjoy ADAF 2020, by subscribing to


08 05 2020//

New Blender 3D image Data_scape-CV19 for ISOLATION – The London Group online exhibition during Covid-19 lockdown May 2020. Kindly curated and organised by Darren Nissbet LG.

Please see previous post for more info or use this link to view the exhibition, online until June 12th 2020:

‘My work often interacts with whatever is happening in 24/7 rolling news media. For this new image, Internet searches using keywords *Covid-19* and *Coronovirus* resulted in random visuals including; multiple styles of protective face masks; spikey, predatory-looking magnified virus structures; PPI; infographic curves & bar charts. Which are all used as displacement modifiers in Blender 3D to form ambiguous, complex structures/ textures as a continuation of recent DATA_SCAPE series of images’