How interactive art installations leverage psychology to shape visitor behaviour, from participation triggers to social dynamics.
Where does scientific inquiry end and artistic research begin? An examination of the contested boundary and what it means for knowledge production.
How the practice-based PhD evolved from a marginal experiment into a mainstream route for artistic research in European higher education.
Beyond the prompt box: how artists like Refik Anadol, Sougwen Chung and Anna Ridler train, curate and physically collaborate with machine learning systems they build themselves.
Edvard Munch left Oslo roughly 1,100 paintings and 22,000 works on paper. It took the city nearly eight decades, two buildings and considerable public argument to properly house them.
A painting or a performance cannot be peer reviewed like a data set. Here is the actual infrastructure — journals, catalogues and mixed panels — that the field has built to evaluate it anyway.
Once a technical correction step, color grading has become one of the most significant authorial decisions in modern filmmaking — and a recognised craft in its own right.
A museum exhibit has no moving images, yet curators increasingly borrow techniques from film — pacing, lighting and sound design — to shape how visitors experience a space.
Documentary photography and film claim a relationship to truth that art does not. But as the two forms increasingly overlap, what does "documentary" even mean anymore?
Arctic photography has long traded on scale and emptiness. What is it about isolated landscapes that continues to draw photographers north — and what do these images actually communicate?
Many of the films that define European art cinema would not exist without a patchwork of national, regional and pan-European public subsidy.
