Mike Winklemann lit up his Twitter feed with two simple words, ‘holy fuck’ on March 11, 2021.

Winklemann, a South Carolina-based visual artist and graphic designer known as Beeple, tweeted about using the expletive as a possible word of absolute surprise. His vivid pastiches composed with 3-D software, now made as authenticated files with unique bits of code named Everydays – The First 5000 Days, had previously sold for nearly $69 million-plus applicable fees in an online auction at Christie's in New York, setting a world record for the nascent digital art. The selling price, according to the auction house, immediately elevated Beeple to one of the top three most valuable living artists.

Under the auspices of non-fungible tokens, an anonymous buyer charged this high price for this ‘masterpiece,' which was made up of digital artwork Beeple had produced over the previous thirteen years and now combed together into a rare and singular piece of art. The Beeple work is a huge collage of his sketches and digital visuals gathered for the NFT, or non-fungible tokens, are digital assets that are run on blockchains or digital ledgers, similar to cryptocurrencies like Bitcoin or Ether, and provide ownership authentication. On the blockchain, a 'token' is a unique string of characters that can be sold between owners. Non-fungible refers to something that cannot be exchanged or traded like for like.

Unlike Bitcoin, each NFT is a one-of-a-kind asset that cannot be replicated in any other format. The mounted Beeple ‘painting' is the only one in existence, which is why it fetched such a high price at auction. A venerable auction house, Christie's, legitimized NFT as a technology for buying and selling one-of-a-kind digital pieces. Christie's did not market the actual collage, but rather the digital asset associated with it.

It wasn't Winklemann's first time selling art at the NFT. Last October, the artist sold a collection of NFT at a fixed price of $66,666.66 for each artwork. He sold another series of NFT for over $3.5 million in December. Pablo Rodriguez-Fraile, the collector who paid $66,666.66 for one of the two NFTs in October, resold the work for over $2 million in February, providing much-needed evidence of Beeple's NFT art's worth over such a short period of time.

Designer and artist Aitor Throup had this to say about his inaugural Genesis NFT series in partnership with the Nifty Gateway marketplace on the occasion of the global launch of his ‘Anatomyland.'

I have always found it hard to fit into the standardized and centralized norms of any industry that I have worked. I don’t believe in systems or structures that limit the creative potential of the creator. For that reason, I have always rejected the fashion industry’s seasonal structure and standardization presentation format. I have realized that I am first and foremost a conceptual artist specializing in telling layered narratives through intricate character design.

– Aitor Throup, Artist, Designer, G-Star Raw Creative Consultant

Throup, an Argentinian-British graduate of the Royal College of Art's Menswear Fashion MA program in 2006, debuted his menswear at London Fashion Week in 2007. Since then, he's collaborated with a number of companies, including G-Star Raw, Stone Island, Umbro, C.P. Company, and Kasabian. Since his debut in London, the designer has been absent from showing his collections. He'd designed battle costumes for films like The Hunger Games, relying on his anatomical and movement expertise.

Throup had placed his fashion label, New Object Research, on hold in order to focus on developing this new design collection.

‘Anatomyland' is a three-dimensional immersive design framework based on the NFT collection, fusing Throup's figurative sculpture, product design, and character creation in the project's three core characters. Rather than delivering a traditional clothing line, such as for fall 2021, Throup chose to create an NFT series based on the sculptures of the three characters – Lil Yin, Lil Yang, and Good Ol' Dom. They reflect the epic story of humanity's struggle to find peace in the midst of turmoil. Lil Yin and Lil Yang's duality contrasts personal and social striving for equilibrium, while Good Ol' Dom is an assertion of a higher self.

Even as NFT, however, there is no lack of fashion design. The characters must first be created as puppet toys, using layers of mesh fabrics and cutting them according to the characters' attributes. Lil Yang wore a sharply cut cropped rugged denim jacket and a wrap skirt-pant, while Lil Yin wore a black mesh tee shirt and a black skirt.

Modular Veil Cap and Modular Bucket Hat, two hats worn by these two characters, will be numbered, signed, and authenticated as artworks. They'll be connected to individual NFTs and will be available as first editions during the Nifty Gateway NFT sale. The first month of this hyper slow fashion release with a few pieces available monthly, starting with these two concept hats as NFT based on physical prototypes Throup built in his design studio as the collection has a physical basis. Clothing will be published in limited editions as well.

My decision to enter the world of NFT is a reflection of the technology’s pursuit of decentralization and the empowerment of the artist. Through my increasingly deeper understanding of digital tools, I have created complex artworks that allow me to convey the layered nature of my work in ways that my physical sculptures and objects are not capable of. I can finally get much closer to the purest version of my imagination. Nifty Gateway has been amazing in trusting my vision and helping to make it a reality

– Aitor Throup on how he wanted to find a new structure to present fashion and to present fashion in a way that is not novel but innovative and creative.

NFT is a brand new horizon of fashion, and there have been some prominent sales of fashion NFT in recent months.

A $125,000 digital Metajac Ket Og jacket was sold by the virtual brand RTFKT.

Overprice was founded in early 2021 by Impossible Briefs' James Zwadlo and Chris Everett, as well as electronic music producer Leighton James of Adventure Club. It is a luxury fashion brand that combines the exclusive NFT with original wearable art clothes. Overpriced was created as a commentary on the changing value of wealth, art, and fashion, as well as a fashion brand driven by NFT, according to the trio. Late in April, Overpriced sold an NFT hoodie on Blockparty.co for over $26,000, which also enabled viewers to wear and authenticate their NFT through a connection on their phones.

Anatomyland by Throup is more important to the discussion of how the fashion industry will work in the digital space now and in the future. Even if it is still a small and niche market, the brand's morphing of NFT and physical clothes will set the tone for how the industry will embrace this technology. With his Shiva skull bag and his ‘Daily Sketchbook Archives' sketches, Throup has amassed a sizable following.

The heart of NFT is collectibles and the collectors who love them.

The fashion industry is debating how to present the spring 2022 collections at this crucial juncture, as health restrictions have changed to the point that physical shows will be possible by the start of the men's season. The seasonal schedule, according to Throup, is no longer a viable format, and the Kering brands agree. Hopefully, luxury fashion companies will not rush back to costly staging and physical shows in the hopes of providing some sort of story to largely digital viewers.

“Demand for NFT continues to grow, and we’re excited to bring this highly innovative partnership to our community and give them access to narrative-rich, multidisciplinary work on our marketplace,” Ashley Ramos, the senior producer at Nifty Gateway. “We’re excited to support Throup’s Genesis NFT collection, which merges the artist’s disciplines of figurative sculpture, product design, and intricate character development,” Ramos said of the project. 

It's encouraging to see Aitor Throup think outside the box once more, this time inside the confines of the computer.

In other news, Rick Owens Fall 2021 fashion show. On the subject of underthings, the pentagram briefs from the January men’s show reappeared here wrapped around evening clutches, the implication being that these alien females had handled the “unhinged male aggression” that those briefs signified.

Non-fungible tokens, or just NFT, are the newest technology that has been changing the art and fashion market. Fashion brands have been studying the blockchain world and all its creative and business possibilities.

NFT: THE TECHNOLOGY THAT IS CHANGING THE ART AND FASHION MARKET

Maller has had a celebrated career pushing the boundaries of the digital medium as an independent artist. Since founding seminal art collective Depthcore in 2002, he has created work for clients including Nike, Gatorade, The Grammys, Dolby, LG, Jordan and Under Armour. Building on this success, Maller’s groundbreaking, year-long project ‘Facets’ forged an iconic brand cemented in his trademark geometric approach. This style has had a visible and lasting influence on visual art practice around the world.

The term "popular culture" was coined in the 19th century or earlier. Traditionally, popular culture was associated with poor education and with the lower classes, as opposed to the "official culture" and higher education of the upper classes. Victorian-era with the rise of the Industrial Revolution in the eighteenth and nineteenth centuries, Britain experienced social changes that resulted in increased literacy rates, and with the rise of capitalism and industrialization, people began to spend more money on entertainment, like the commercial idea of pubs and sports. Reading also gained traction. Labelling penny dreadfuls the Victorian equivalent of video games, The Guardian in 2016 described penny fiction as "Britain's first taste of mass-produced popular culture for the young". A growing consumer culture and an increased capacity for travel via the newly invented railway (the first public railway, Stockton and Darlington Railway, opened in north-east England in 1825) created both a market for cheap popular literature, and the ability for its distribution on a large scale. The first penny serials were published in the 1830s to meet the growing demand.

The stress in the distinction from "official culture" became more pronounced towards the end of the 19th century, a usage that became established by the interbellum period.

From the end of World War II, following major cultural and social changes brought by mass media innovations, the meaning of popular culture began to overlap with those of mass culture, media culture, image culture, consumer culture, and culture for mass consumption.

The abbreviated form "pop" for popular, as in pop music, dates from the late 1950s. Although terms "pop" and "popular" are in some cases used interchangeably, and their meaning partially overlap, the term "pop" is narrower. Pop is specific of something containing qualities of mass appeal, while "popular" refers to what has gained popularity, regardless of its style.

According to author John Storey, there are various definitions of popular culture. The quantitative definition of culture has the problem that much "high culture" (e.g., television dramatizations of Jane Austen) is also "popular." "Pop culture" is also defined as the culture that is "leftover" when we have decided what high culture is. However, many works straddle the boundaries, e.g., William Shakespeare and Charles Dickens, Leo Tolstoy, and George Orwell.

A pioneer in the digital art world, Justin Maller has been creating work at the juncture of avant-garde and pop culture since the turn of the century.

"Healthy, happy and indistinguishable from ordinary pigs." Elon Musk on the condition of his new startup's test subjects. This time he is experimenting on the biological level. He presented the first results to the public in person. And he showed live several animals with microchips implanted into their skulls.

It is claimed to be quite successful. With the help of small devices, the pigs' brains were connected to a computer. And in this way it was possible to study the nervous system of the animal. According to the billionaire, the purpose of the technology is purely medical. Musk assures that this is happening very soon. But he is careful not to give an exact date.

The implants could be used to treat various brain diseases in the future. So, he is going to move on from the cloven-hoofed animals to humans. It is planned that the chip can be changed and upgraded, just like any gadget. According to Musk, at first, the service will be incredibly expensive, but then the price will fall "to a few thousand dollars."

So, the beginning of the presentation. But something isn't going according to plan. The test subject, Gertrude, behaves strangely: she won't come out to people. The billionaire is surprised: she has never been so shy before.

But soon Gertrude reveals herself to the world. Two months ago she had an electronic chip implanted in her brain. Several other pigs were fitted with as many as two. Now scientists can literally see what the animals are sniffing. And even predict their movements.

The device is being developed, of course, not for pigs. The Neuralink is a "puck" 23 mm in diameter. It is inserted into the skull in the place of the drilled area. It has a wireless communication channel, for example, the chip can be linked to the phone. And it is charged at night also in wireless mode.

The device makes contact with the brain through a thousand very thin wires, which are poked into the neurons by a special robotic surgeon.

"This is a very modern development in terms of its technological sophistication. It is a task that has been done many times, and many more electrodes have been always connected. But those were always stationary devices only. And everything revolves around making it a gadget," said Timofei Glinin, a neurobiologist and the leader of the neurostimulator project.

The technology has caused controversy in the scientific community. Doctors admit that it has enormous potential. Neuralink can not only read, but also send signals to neurons. This means that the device can help people who, due to age or illness, have lost the ability to use certain parts of the brain.

This in itself is not a sensation. These days, even paralyzed patients can be taught to walk by medics. But there is a catch: the miracle is always short-lived. Sooner or later - usually after a few months - the nervous system rejects the implants. Musk, on the other hand, is confident that this will not happen with his chip.

Another advantage: the interface has a wide range of applications. After all, depending on where to drill, doctors can reach any part of the cerebral cortex. Even the one that controls the patient's behavior!

But it is also obvious that the technology is dangerous. Experts say: everything can be hacked. And this chip is no exception. Data can be intercepted, jammed, or even reconfigured to the detriment of the wearer.

"One of the biggest threats to humanity for the next century is social engineering. When a person receives some commands in the brain, even on a subconscious level. Which can lead to any desired reaction. That is, there are a lot of problems," warns Alexei Malnev, head of the Information Security Incident Monitoring and Response Center at Infosystem Jet.

And the technology looks even more ominous in light of Elon Musk's future plans. The billionaire is very afraid of artificial intelligence. He believes that when the computer brain appears, we will be so inferior to its capabilities that "we will become its pet Labradors". And, they say, the only salvation is for us to turn into machines ourselves. According to Musk's plan, the chip in the future should become a carrier of its own artificial intelligence, which would multiply our mental abilities. And in order to do this, the vulnerable to the hacking system would have to transfer access to all of the brain's resources.

Anyway, now Neuralink is moving towards clinical trials on humans. True, it is not clear: how can one be sure that the implant will not reject? Two months of the existence of the cyber pig Gertrude is obviously not enough to draw such conclusions. In addition, the robotic surgeon has yet to refine the human brain. It's much more complex compared to the brain of a pig.

Elon Musk showed chipped pigs connected to a computer. When to expect human experiments. And what's it all for?

ELON MUSK DEMONSTRATED A NEURALINK BRAIN IMPLANT IN A LIVE PIG

Tarık Tolunay was born in 1970 in Istanbul. He started drawing cartoons and comic strips in Oğuz Aral’s Gırgır, then continued in other comics and newspapers. The artist was part of public opposition with his drawings. 

Tolunay studied in Mimar Sinan University, Faculty of Fine Arts, Departments of Graphic and Painting. In recent years, he brought together his lines with rapid developments in information technologies and became an expert on vector illustrations and infographics. Since 2003, Tolunay has been producing storyboards, illustrations, animatics and animations. History, architecture and cartography have always been amongst his interests.

Istanbul has been the center of attention of European painters for centuries. Many travelers, artists and engravers documented the city with their lines and carried it to its present day. However, those living in their own geography did not keep a visual record of Istanbul. Tarık Tolunay has been working on Istanbul City Maps since 2010. The artist combines details of Istanbul's daily life with stories and transfers them to images within his own interpretation. Tolunay brings together and records layers of overlapping time in complex compositions. 

Tarık Tolunay's goal is to make a decent contribution to the urban culture: to question the traces of the last 60-70 years through the ent phenomenon and to be able to leave a visual record for the future today and perhaps to make new suggestions. The artist wants to prevent the residents from alienating their cities. Culture moves with those who understand and consume it as much as those who produce it. In this sense, the increase in the number of “urban literate” will ensure the continuation of the ancient city by adding new colors to its long life. Fractal Istanbul Project aims to transform from being a personal project to a visual production workshop focused on Istanbul in time. The piece that reproduces and expresses itself in the whole: Fractal Istanbul. It grows and expands.

Entoptic phenomena are visual effects whose source is within the eye itself. (Occasionally, these are called entopic phenomena, which is probably a typographical mistake.)

In Helmholtz's words: "Under suitable conditions light falling on the eye may render visible certain objects within the eye itself. These perceptions are called entoptical."

Entoptic images have a physical basis in the image cast upon the retina. Hence, they are different from optical illusions, which are caused by the visual system and characterized by a visual percept that (loosely said) appears to differ from reality. Because entoptic images are caused by phenomena within the observer's own eye, they share one feature with optical illusions and hallucinations: the observer cannot share a direct and specific view of the phenomenon with others.

Helmholtz commented on entoptic phenomena which could be seen easily by some observers, but could not be seen at all by others. This variance is not surprising because the specific aspects of the eye that produce these images are unique to each individual. Because of the variation between individuals, and the inability for two observers to share a nearly identical stimulus, these phenomena are unlike most visual sensations. They are also unlike most optical illusions which are produced by viewing a common stimulus. Yet, there is enough commonality between the main entoptic phenomena that their physical origin is now well understood.

Istanbul has been the center of attention of European painters for centuries. Many travelers, artists and engravers documented the city with their lines and carried it to its present day. However, those living in their own geography did not keep a visual record of Istanbul.

Alexander Karp (1967) is an American businessman and the co-founder and CEO of the software firm Palantir Technologies.

The son of a Jewish father and an African American mother, Karp was raised in a Jewish family in Philadelphia and graduated from Central High School in 1985. He has said he struggled with dyslexia from an early age.

Karp earned a bachelor's degree from Haverford College, a juris doctor from Stanford University, and a doctorate in neoclassical social theory from Goethe-Universität, Frankfurt, Germany. Karp's thesis, supervised by Karola Brede, was titled "Aggression in der Lebenswelt: Die Erweiterung des Parsonsschen Konzepts der Aggression durch die Beschreibung des Zusammenhangs von Jargon, Aggression und Kultur", which means "Aggression in the life-world: The extension of Parsons' concept of aggression by describing the connection between jargon, aggression, and culture."

Karp has said he successfully invested in startups and stocks after receiving an inheritance from his grandfather.

Karp founded the London-based money management firm Caedmon Group.

In 2004, along with Peter Thiel (who had been a classmate at Stanford) and others, he co-founded Palantir as CEO.

Karp has described himself as a socialist and a progressive, and said he voted for Hillary Clinton. In 2017, he was recorded during a Palantir company meeting claiming he turned down an invitation from President Trump, saying “I respect nothing about the dude.”

He has said that technology companies like Palantir have an obligation to support the U.S. military. He has defended Palantir's contract with U.S. Immigration and Customs Enforcement during the controversy over family separations, saying that while separations are "a really tough, complex, jarring moral issue," he favors "a fair but rigorous immigration policy". He has said the U.S. government should have a strong hand in tech regulation and that western countries should dominate AI research.

Palantir's customers at the New York Police Department referred it to JPMorgan, which became the company's first commercial client in 2010. A group of engineers rented a Tribeca loft and slept in bunk beds while working around the clock to help the bank solve its fraud problems. They were soon tasked with unwinding the company's toxic mortgage portfolio. Palantir's New York business has grown to include a full-fledged Batman-themed office called Gotham, and the company's lucrative financial-services practice now covers everything from forecasting foreclosures to fighting Chinese hackers.

Palantir's idealistic culture started to show cracks as its customer base expanded. Early in 2011, e-mails surfaced revealing that a Palantir engineer worked on a plan to deal with a WikiLeaks attempt to leak Bank of America records. In the e-mails, the Palantir employee enthusiastically agreed to suggest monitoring and revealing WikiLeaks' contributors, launching cyberattacks on the organization's infrastructure, and even intimidating its sympathizers. When the controversy emerged, Karp placed the offending engineer on leave and publicly apologized, promising that the organization would help "progressive principles and causes." Outside counsel was hired to investigate the firm's actions and procedures, and after much deliberation, it was decided that rehiring the offending employee was appropriate, much to the chagrin of the company's critics.

Following the WikiLeaks incident, Palantir's privacy and civil liberties team developed the Batphone, an ethics hotline for engineers that allows any engineer to anonymously report work on behalf of a customer that they believe is unethical to Palantir's directors. For example, the company backed out of a job that involved analyzing information on public Facebook pages as a result of one Batphone contact. Palantir has turned down a chance to partner with a tobacco company, according to Karp, and the company foregoes as much as 20% of its potential sales for ethical reasons.

Despite its employees' concerns regarding human rights violations in Saudi Arabia, Palantir has looked into working there, according to former employees. Karp's apology for the WikiLeaks affair, despite his focus on morals, does not seem to have made much of an impression on him. He sounded adamant in his July address to Palantir engineers, saying, "We've never had a controversy that was really our fault."

Alex Karp is an American businessman and entrepreneur, known as the CEO and co-founder of Palantir Technologies, a software company that specializes in data analytics. Palantir builds software that connects data, technologies, humans and environments.

ALEX KARP: THE CO-FOUNDER AND CEO OF PALANTIR TECHNOLOGIES

The illustrated, digitally-augmented story of a sixteen-year-old who discovers heavy metal and the son of god in one heady summer in Roman-occupied Nazareth

Darryl’s friendless. Bored out of his skull. It’s the middle of summer, in the middle of the desert, in the middle of a fly-blown suburb of Roman-occupied Nazareth. Tough times for a sixteen-year-old boy in any era, never mind two millennia ago, when the only thing to look forward to is the next sandstorm, and you’re spending every waking moment worrying that the spots on your forehead are for sure signs of leprosy. But everything changes when Darryl meets his new refugee neighbor, Jay, who just so happens to be the messiah before he was *the Messiah.*

Jay brings good news to Darry’s life and soaring, otherworldly vocals to his band with fellow teen Nazarenes Mary and Jude. Together, they help each other survive life in the year 16 AD―and miraculously, they invent a beguiling new musical form that they call METAL, one of many epic revelations in this heretofore unheralded early chapter in the greatest story ever told.

This special edition of The Book of Darryl is illuminated by world-famous GIF artist Scorpion Dagger, with images that come to animated life―accompanied by a splendorous heavy metal score―through augmented reality, in a lost gospel here resurrected by leading Darryl scholars and storytelling pioneers Matt Bate and the Goggles.

James Kerr / Scorpion Dagger is a digital artist known for his short animations, where he mixes cutouts from various paintings from art history to create a world where he comments on our modern age.

JAMES KERR AKA SCORPION DAGGER: THE BOOK OF DARRYL

Joseba Elorza was born in Vitoria-Gasteiz, a small city in the Basque Country, Spain. He studied to become a sound technician and later spent a couple of unfruitful years in art school. It was all this synesthetic hodgepodge where MiraRuido sprang from; Joseba Elorza used to spend the morning as a sound technician in a radio station and the evening working on collages. Sight gradually took over hearing, and presently he is making a living as an illustrator and animator. Elorza has done illustrations for clients such as Wall Street Journal, Esquire or Hollywood Reporter and animations for National Geographic, Amazon Studios and Green Day among others.

Collage in the modernist sense began with Cubist painters Georges Braque and Pablo Picasso. Snippets and fragments of different and unrelated subject matter made up Cubism collages, or papier collé, which gave them a deconstructed form and appearance. According to some sources, Picasso was the first to use the collage technique in oil paintings. According to the Guggenheim Museum's online article about collage, Braque took up the concept of collage itself before Picasso, applying it to charcoal drawings. Picasso adopted collage immediately after (and could be the first to use collage in paintings, as opposed to drawings):

"It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paper and attaching them to his charcoal drawings. Picasso immediately began to make his own experiments in the new medium."

In 1912 for his Still Life with Chair Caning (Nature-morte à la chaise cannée), Picasso pasted a patch of oilcloth with a chair-cane design onto the canvas of the piece.

Surrealist artists have made extensive use of collage and have swayed away from the still-life focus of Cubists. Rather, in keeping with surrealism, surrealist artists such as Joseph Cornell created collages consisting of fictional and strange, dream-like scenes. Cubomania is a collage made by cutting an image into squares which are then reassembled automatically or at random. Collages produced using a similar, or perhaps identical, method are called etrécissements by Marcel Mariën from a method first explored by Mariën. Surrealist games such as parallel collage use collective techniques of collage making.

The Sidney Janis Gallery held an early Pop Art exhibit called the New Realist Exhibition in November 1962, which included works by the American artists Tom Wesselmann, Jim Dine, Robert Indiana, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, George Segal, and Andy Warhol; and Europeans such as Arman, Baj, Christo, Yves Klein, Festa, Mimmo Rotella, Jean Tinguely, and Schifano. It followed the Nouveau Réalisme exhibition at the Galerie Rive Droite in Paris, and marked the international debut of the artists who soon gave rise to what came to be called Pop Art in Britain and The United States and Nouveau Réalisme on the European continent. Many of these artists used collage techniques in their work. Wesselmann took part in the New Realist show with some reservations, exhibiting two 1962 works: Still life #17 and Still life #22.

Another technique is that of canvas collage, which is the application, typically with glue, of separately painted canvas patches to the surface of a painting's main canvas. Well known for use of this technique is British artist John Walker in his paintings of the late 1970s, but canvas collage was already an integral part of the mixed media works of such American artists as Conrad Marca-Relli and Jane Frank by the early 1960s. The intensely self-critical Lee Krasner also frequently destroyed her own paintings by cutting them into pieces, only to create new works of art by reassembling the pieces into collages.

And what does "MiraRuido" mean? It is just the union of two Spanish words: “Mira” = “look, see” and “Ruido” = “noise”.

Michael Kozlowski is an American media artist and software developer. His primary interests are real-time graphics, mixed reality, and interactivity.

As immersive technology becomes more prevalent, traditional two-dimensional video will concede its monopoly on our experience of digital media. Michael is interested in this middle ground—the awkward but often beautiful transition of media as it crosses from two to three dimensions. Most of his work incorporates the input of live or prerecorded two-dimensional video and physical interaction, which is processed and transformed in real-time. He makes video, digital sculptures, and software applications.

​Kozlowski attended the School of Cinematic Arts at the University of Southern California, where he earned his bachelor’s degree. He currently works at Microsoft.

A holographic display is a type of display that utilizes light diffraction to create a virtual three-dimensional image. Holographic displays are distinguished from other forms of 3D displays in that they do not require the aid of any special glasses or external equipment for a viewer to see the image.

1947 - Hungarian scientist Dennis Gabor first came up with the concept of a hologram while trying to improve the resolution of electron microscopes. He derived the name for holography, with "holos" being the Greek word for "whole," and "gramma" which is the term for "message."

1960 - The world's first laser was developed by Russian scientists Nikolay Basov and Alexander Prokhorov, and American scientist Charles H. Townes. This was a major milestone for holography because laser technology serves as the basis of some modern day holographic displays.

1962 - Yuri Denisyuk invented the white-light reflection hologram which was the first hologram that could be viewed under the light given off by an ordinary incandescent light bulb.

1968 - White-light transmission holography was invented by Stephen Benton. This type of holography was unique because it was able to reproduce the entire spectrum of colors by separating the seven colors that create white light.

1972 - Lloyd Cross produced the first traditional hologram by using white-light transmission holography to recreate a moving 3-dimensional image.

1989 - MIT spatial imaging group pioneered electroholography, which uses magnetic waves and acoustic-optical sensors to portray moving pictures onto a display.

2005 - The University of Texas developed the laser plasma display, which is considered the first real 3D holographic display.

2010 - Hollow pyramid shaped prisms are released into the consumer market, which if placed over a flat screen (or smartphone), can emulate a three-dimensional image by means of 2-D light refraction.

2012 - The first holographic display is implemented in a car's interactive navigation display system. The technology was showcased through the exclusive luxury car, the Lykan HyperSport.

2013 - MIT researcher Michael Bove predicts that holographic displays will enter the mass market within the next ten years, adding that we already have all the technology necessary for holographic displays.

The Perpetuation series continues the theme of traditional methods and genres cast against modern techniques. This piece focuses on the practice of outdoor painting. It is a procedural collaboration with the computer, a painting that's never finished.

Aaron Levie was born to a Jewish family from Mercer Island, Washington, a small suburb of Seattle. His parents are Ben and Karyn Levie. Levie attended the University of Southern California before taking a leave of absence in 2005 to start cloud storage company Box.

The idea for Box originated as a college business project that Levie was working on in 2004. The project examined cloud storage options for businesses and after contacting several organizations to ask how they are storing their content and data, Levie came to the conclusion that the market was fragmented. Levie saw an opportunity to build an online file storage business as a way for individuals to access and store documents and files.

In December 2005, during his junior year at USC, Levie took a leave of absence to launch Box (originally called box.net) with his friend and Box CFO, Dylan Smith who was attending Duke University. At the time, Box was a storage service where users could pay to store their files in the cloud.

Levie and Smith incorporated Box in April 2005 while operating the company out of Smith's parents' house on Mercer Island. Soon after, they moved the company to Berkeley, California. Levie and Smith first secured angel investment for Box from Texas billionaire Mark Cuban after a cold e-mail.

In 2007, as the consumer cloud storage marketplace was becoming increasingly crowded, Levie and Smith decided to shift Box from a consumer service to one focused on selling to businesses (cloud storage).

Box expanded its operations into Europe in 2012, with the opening of its first office in London, England.

As of 2014, Box reported that 40% of Fortune 500 companies are paying Box customers. The company is headquartered in Redwood City and was backed by several venture capital firms and investors such as Andreessen Horowitz, Bessemer Venture Partners, Draper Fisher Jurvetson, General Atlantic, Meritech Capital Partners, New Enterprise Associates, U.S. Venture Partners, and Salesforce.com. The company filed for IPO on the New York Stock Exchange in March 2014. Citing market fluctuations the company delayed its IPO until January 23, 2015.

Levie has spoken at industry events such as Fortune Brainstorm Tech, Dreamforce, CxOTalk, LeWeb, RSA, MobileBeat, GigaOm Structure, TechCrunch Disrupt and DEMO. He has also written articles on innovation in the technology industry for publications such as The Washington Post, CNN.com, Los Angeles Times, Fortune, Forbes, ZDNet and Fast Company.

A lot of times, at the board level, a conversation will start with, “Do we have the right CEO?” And especially for early founders, you ask yourself that question. “Am I going to be a good CEO? Am I going to be able to scale the company?” But when you ask that kind of question, you end up defining what a CEO is in unnecessarily strict terms. Whereas, actually, the most important job of a CEO is just to make sure that the company succeeds. So if there’s a whole chunk of work that you’re not good at, you don’t personally have to be good at it to be a good CEO. You have to make sure the company is good at it to be a good CEO.

Early on, when we were scaling Box at 20 or 30 employees, we came to this question. And I asked myself, “Do I look like these other CEOs that have scaled big companies?” A lot of times it didn’t feel like I was like them. I focus on a very different set of things. I don’t really like all the stuff that they like to do. But I ended up realizing that it was actually just my job to make sure that we got all of the problems solved, not that I had to personally solve them all.

I end up seeing a lot of companies make this mistake—and it’s obviously happening much less these days than in the ’90s and early 2000s—where you shoot the founder and then bring in an experienced CEO. Imagine all the better outcomes we would have if those companies actually kept their founders focused on what they’re great at, and then added counterparts to help them build the business.

My thing is this: Founders can get burned out for two reasons—I mean, probably a hundred reasons, but let’s just say there’s two for now. One reason is that you’re tired. You just aren’t as passionate about the problem space anymore, and you want to go off and do something completely different or take some time off. That’s scenario one, and realistically it probably happens just as much as scenario two.

But I think sometimes it can get confused with scenario two, which is when you are doing a set of things that you no longer like to do, and you have not found a way to get them off your plate. You haven’t found a way to get back to focusing on the thing that you are uniquely passionate about. If I spent 90% of my time in performance-review meetings and organization meetings and compensation-decision meetings, I would be burned out and say, “This is not what I want to do.”

The key is to not conflate what you are doing on a daily basis with falling out of passion with the overall mission. But a lot of times you end up doing that if you don’t have any way to complement your skills.

So my recommendation to anyone who’s running into that situation would be to try a COO first. See if the desire to stop has to do with dreading your day-to-day activities, or if it’s actually where you are in life.

Aaron Winsor Levie is an American entrepreneur also known as the co-founder and CEO of Box, a cloud-management and file sharing service for businesses.

AARON LEVIE: I HAVE A LOT OF FAULTS, I OFTEN INTERRUPT IN MEETINGS, I TALK TOO FAST

James Jean is a Taiwanese-American visual artist working primarily in painting and drawing. He lives and works in Los Angeles, where he moved from New York in 2003.

Jean was born in Taiwan and raised in New Jersey. During his early education, he explored various forms of artistic expression, including the piano and trumpet. He attended the School of Visual Arts in New York City, from which he graduated in 2001.

In 2001, Jean became a cover artist for DC Comics and Marvel Comics, garnering seven Eisner awards, three consecutive Harvey awards, two gold medals and a silver from the Society of Illustrators of Los Angeles, and a gold medal from the Society of Illustrators of New York. He also worked in advertising, and has contributed to many national and international publications. His clients included Time Magazine, The New York Times, Rolling Stone, Spin, ESPN, Atlantic Records, Target, Linkin Park, Playboy, Knopf, Prada among others. He illustrated covers for the comic book series Fables and The Umbrella Academy, for which he has won six Eisner Awards for "Best Cover Artist". In 2006, he won Best Artist from the World Fantasy Awards. He also did the album art for My Chemical Romance 's album The Black Parade, which was released in 2006.

In 2008, Jean retired from illustration projects in order to focus on painting. Combining abstract figuration with loose, gestural marks, Jean creates layered compositions that evoke personal or collective experiences. Dream-like and at times disorienting, his works are expressive of narratives unbounded in time or space, and draw upon art historical antecedents ranging from Baroque painting traditions to Japanese woodblock prints and Chinese silk scroll paintings.

Sketchbooks have sustained a vital space in Jean's practice, solidifying importance in his time during art school as a rejection of the strict academic focus of visual arts studies. In favor of the freedom found in sketching during his childhood, Jean embraced sketchbooks as a means of exploring figures and imaginative creatures, synthesizing doodles, line drawings, and journalistic elements with more polished compositions in black-and-white and color. For Jean, sketchbooks are spaces for both experiment or study and for finished artworks in their own right.

Jean created the poster art for three films in 2017: Darren Aronofsky’s mother!, Guillermo del Toro’s The Shape of Water, and Denis Villeneuve’s Blade Runner 2049. Employing different media for each artwork, he hand-painted two character posters for mother! (one for Jennifer Lawrence and another for Javier Bardem), made a charcoal drawing for The Shape of Water, and used digital drawing tools for Blade Runner 2049. As part of his creative process, Jean collaborated closely with both Darren Aronofsky and Guillermo del Toro. Del Toro, a long-time fan of Jean's work, describes his drawings as having "a delicate nature to them and beautiful line work that is at the same time realistic and sort of elevated into a style of his own." Jean's posters uniquely evoke the tone and mood of each film without overtly revealing depictions of plot.

In 2019, Lotte Museum of Art in Seoul hosted "Eternal Journey," a major retrospective of Jean's work. Over 500 works were on view in the exhibition, including large-scale paintings, sculpture, installation, video art, 150 comic book covers, and more than 200 drawings that served as the inspiration for many of the included works. Nine large-scale paintings explored the theme of obangsaek, or the five fundamental or cardinal colors, a traditional color schema representative of the order of the universe.

Collaborating again with Judson Studios, the oldest family-operated stained-glass maker in the US, Jean created Gaia - Yellow Earth Center (2019), the centerpiece of the Lotte Museum of Art exhibition. The sculpture expands upon his earlier explorations into stained glass for "Azimuth," bringing his visual vocabulary to the traditional medium. Over eight feet in height, the illuminated sculpture, which combines water jet cutting, hand and airbrush painting, and fused glass, depicts the goddess Gaia with a slinking tiger in an all-over composition of natural and geometric elements.

The exhibition was on view from April 4 through September 1, 2019 and is accompanied by an exhibition catalogue with essays by Yoon-Kyung Kwon, Chief Curator at Lotte Museum of Art; Hee-Kyung Song, Art Historian and Professor at Ewha Womans University; and Christopher James Alexander, Architecture, Art, and Design Consultant, Principal of CJA Creative Collaborations.

Once described as a multidisciplinary visual artist whose works explore imagination and reality through narrative-driven, layered compositions.

Jen Stark’s art is driven by her interest in conceptualizing visual systems to simulate plant growth, evolution, infinity, fractals, mimetic topographies, and sacred geometries. Using available materials—paper, wood, metal, paint—Stark strives to make work that balances on a razor’s edge of optical seduction and perceptual engagement. 

The resulting works often resemble organic, molecular, cloud-like structures, and are imbued with kinetic, undulating effects that serve to dislocate the viewer from staid reality into an immersive ecosphere of echoing patterns and the implausible designs found in nature. Even her vivid colors are in direct conversation with the natural world; the attractant/repellent properties of flowers encouraging pollination or insects warning birds of their poisonous traits, and the luminous mystery of phosphorescent sea creatures are among Stark’s concerns.

Via these corporeal abstractions, spectators are led onto the astral plane; there’s a transcendence to Stark’s work where the vibrational phases become a sacrosanct and curative experience for the viewer. Traces of mandalas or nautili reveal themselves as sacred geometric forms in Stark’s spiritual reservoir.

Stark’s ability to create atmospheric, minimal, naturalist configurations that only reveal themselves after deep engagement align her with the artistic legacies of Yayoi Kusama, Sol Lewitt, Tara Donovan, Tom Friedman, Andy Goldsworthy, Ernst Haeckel, and the Finish Fetish artists of 1960s Los Angeles.

Not limited to the confines of museums and galleries, Stark’s diverse practice—a series of sculptural objects that rely on a commitment to process and hypnotic repetition; charismatic wall works; widely seen murals; and intricately animated films—have been exhibited throughout the world.

Stark was born in Miami, Florida in 1983, and studied at the Maryland Institute College of Art, graduating in 2005. Since then, Stark has realized exhibitions globally, with major shows in New York, Los Angeles, Miami, Chicago, Thailand, and Canada. Her work is in the collections of the Smithsonian American Art Museum, the West Collection, Crystal Bridges Museum of American Art, the Museum of Art Fort Lauderdale and MOCA Miami, among others.

The resulting works often resemble organic, molecular, cloud-like structures, and are imbued with kinetic, undulating effects that serve to dislocate the viewer from staid reality into an immersive ecosphere of echoing patterns and the implausible designs found in nature. 

Jack Patrick Dorsey (1976) is an American billionaire technology entrepreneur and philanthropist who is a co-founder and the CEO of Twitter, and the founder and CEO of Square, a financial payments company.

Williams, Stone and Noah Glass co-founded Obvious Corporation, which then spun off Twitter, Inc., with Dorsey as the Chief Executive Officer (CEO). As CEO, Dorsey saw the startup through two rounds of funding by venture capitalists. He reportedly lost his position for leaving work early to enjoy other pursuits, such as yoga and fashion design.

As the service began to grow in popularity, Dorsey chose the improvement of uptime as top priority, even over creating revenue—which, as of 2008, Twitter was not designed to earn. Dorsey described the commercial use of Twitter and its API as two things that could lead to paid features.[ He says his three guiding principles, which he says the company shares, are simplicity, constraint and craftsmanship.

On October 16, 2008, Williams took over as CEO, while Dorsey became chairman of the board. During his time as chairman, Dorsey joined several State Department delegations, including a trip to Iraq in April 2009, led by Jared Cohen. In November, when Iranians took to the streets in the Green Revolution, Twitter was scheduled to conduct maintenance of its site, which would entail temporarily shutting down Twitter's servers. Dorsey responded to a request from Cohen to delay the maintenance so that it would not affect the revolution in Iran, because Iranians were using Twitter to communicate and coordinate. Since President Obama had announced that there would be no meddling in Iran, the move sparked controversy. In February 2010, Dorsey was part of another State Department delegation, this time to Russia. On March 28, 2011, he returned to Twitter as executive chairman after Dick Costolo replaced Williams as CEO. On June 10, 2015, Costolo announced his resignation as CEO, effective July 1, 2015. Dorsey assumed the post of interim CEO upon Costolo's departure. He was named permanent CEO on October 5, 2015. On the day after the controversy about Twitter's new algorithms for tweets, Dorsey said it was a hoax.

In May 2016, Dorsey announced that Twitter would not count photos and links in the 140-character limit to free up more space for text. This was an attempt to entice new users, since the number of tweets per day had dropped to about 300 million in January 2016 from about 500 million in September 2013 and its peak of 661 million in August 2014.

On November 22, 2016, Dorsey was briefly suspended from his own Twitter account with 3.9 million followers. After restoring the account, Dorsey tweeted that the suspension was due to an "internal mistake".

In February 2017, Dorsey and Executive Chairman Omid Kordestani matched a $530,000 donation to the American Civil Liberties Union (ACLU) raised by Twitter staffers. Their match brought the total donation to $1.59 million.

In March 2018, Dorsey announced that an improved version of the verification system would be coming to Twitter. The purpose of redesigning verification was to let people verify more facts about themselves, emphasizing proof of identity. The overhaul was not in place before the U.S midterm election of 2018 to help in verifying the identities of the candidates.

In September 2018, Dorsey testified before the Senate Intelligence Committee alongside Facebook COO Sheryl Sandberg about meddling in the 2016 presidential election. Following this testimony, Twitter shares fell six percent.

Dorsey met privately with U.S. President Donald Trump at the White House and discussed Trump's concerns that Twitter had limited or removed some of his Twitter followers, and those of conservatives. After the meeting, Dorsey tweeted that their discussion included making Twitter "healthier and more civil". A week earlier, Dorsey took part in a TED talk about the social media platform's spread of abuse and misinformation, which has brought him criticism.

On August 30, 2019, Dorsey's personal Twitter account was allegedly breached for nearly an hour by a group calling itself the Chuckling Squad, posting and retweeting numerous racist tweets.

On October 23, 2019, Twitter's stock price fell by nearly 24 percent, from $38.83 to $30.75. The reason was an earnings miss off a third quarter report, which Twitter blamed on ad targeting problems. Dorsey had been making a concerted effort to dampen the effect that Twitter had on political elections, which entailed banning all political ads. This was also seen as a large contributor to the drop. Dorsey announced that, as of November 22, 2019, Twitter would ban all political advertising. The policy applies globally to all marketing campaigns about political issues.

On February 29, 2020, it was announced that activist hedge fund Elliott Management led by billionaire Paul Singer was looking to oust Dorsey and nominate four directors to Twitter's board, including Elliott's senior portfolio manager Jesse Cohn. Dorsey received support from entrepreneurs Elon Musk and Ethereum co-founder Vitalik Buterin, among others. The two parties reached an agreement days later, with Dorsey remaining CEO.

In October 2020, Dorsey was one of several tech firm CEOs subpoenaed by the US Senate Commerce Committee. Republican Roger Wicker, who chairs the committee, led the charge to force the CEOs of Twitter, Facebook and Google to testify about the legal immunity the tech platforms receive under Section 230 of the Communications Act of 1996.

Dorsey, along with co-founder Jim McKelvey, developed a small business platform to accept debit and credit card payments on a mobile device called Square, released in May 2010. The small, square-shaped device attaches to iPhone, iPad, iPod Touch, or Android devices via the headphone jack, and as a mini card reader, allows a person to swipe their card, choose an amount to transfer to the recipient and then sign their name for confirmation. Square is also a system for sending paperless receipts via text message or email, and is available as a free app for iOS and Android OS. The company grew from 10 employees in December 2009 to over 100 by June 2011. Square's office is on Market Street in San Francisco. In September 2012, Business Insider magazine valued Square Inc. at US$3.2 billion. Dorsey is CEO of Square, Inc. On October 14, 2015, Square filed for an IPO to be listed on the New York Stock Exchange. As of that date, Dorsey owned 24.4 percent of the company. In March 2020 the FDIC permitted Square to open a bank. It announced plans to launch Square Financial Services in 2021.

In May 2020, Dorsey extended to Square employees the same offer he made to those at Twitter, the option to work from home permanently.

In 2020, Square began withholding for months up to 30 percent of the funds that merchants collected from customers using its Cash App.

Jack Patrick Dorsey is an American computer programmer and entrepreneur who is known as the co-founder of Twitter, an online news and social networking service that allows users to post and interact with messages called “Tweets”.

JACK PATRICK DORSEY: THE CO-FOUNDER OF TWITTER

Alessio de Vecchi was born in Italy and graduated from Istituto Europeo di Design. After starting his career as an industrial designer in Milan, he moved to New York in 2006. He has been working as an art director and CG artist in New York, Milan, Tokyo with clients such as Adidas, Ford, LG, H&M, Margiela. Alessio de Vecchi's creations have earned positive attention from Vogue, ID Magazine, The Creators Project among others. Currently based in Tokyo, finalizing his debut short movie as a director.

Industrial design is a process of design applied to products that are to be manufactured by mass production. It is the creative act of determining and defining a product's form and features, which takes place in advance of the making of a product. In contrast, manufacture consists purely of repeated, often automated, replication. This distinguishes industrial design from craft-based design, where the form of the product is determined by the product's creator largely concurrent with the act of its creation.

All manufactured products are the result of a design process, but the nature of this process can take many forms. It can be conducted by an individual or a team, and such a team could include people with varied expertise (e.g. industrial designers, engineers, business experts, etc.). It can emphasize intuitive creativity or calculated scientific decision-making, and often emphasizes both. It can be influenced by factors as varied as materials, production processes, business strategy, and prevailing social, commercial, or aesthetic attitudes. Industrial design, as an applied art, most often focuses on a combination of aesthetics and user-focused considerations, but also often provides solutions for problems of form, function, physical ergonomics, marketing, brand development, sustainability, and sales.

Industrial design studies function and form—and the connection between product, user, and environment. Generally, industrial design professionals work in small scale design, rather than overall design of complex systems such as buildings or ships. Industrial designers don't usually design motors, electrical circuits, or gearing that make machines move, but they may affect technical aspects through usability design and form relationships. Usually, they work with other professionals such as engineers who focus on the mechanical and other functional aspects of the product, assuring functionality and manufacturability, and with marketers to identify and fulfill customer needs and expectations.

Whether it's a power line tower on top of Mount Everest dwarfed by a massive spherical artifact, or a silver fork plunged into a mysterious blob of glowing goo, each 3D snapshot makes you wonder what's going on at the edges of the frame.

Matt The Nelson is a motion designer and artist. His work has been featured in the New York Times, Ello, and Gross Magazine. 

"When I was first trying to break into the creative industry I thought “Matt Nelson” wasn’t very memorable or interesting. I started sending out resumes as Matt the Nelson and it got a lot of attention. One creative director thought it was my real name. Maybe one day I will make it my real name, and get it tattooed across my chest.

I began playing around with animation and design from a young age. My dad was a video enthusiast, and had a lot of media equipment he would let me play with. I would create these primitive stop-motion animations using his camera and basic editing software. This was before online video took off, so I would literally burn DVD’s and distribute them to all of my friends. By the time I graduated high school, I was set on working in the design and animation industry, so I ended up earning a BS in digital media and design. Following graduation, I began working full-time as a motion designer for commercials and advertising.

My influences include everything from industrial design, to occult imagery, and fashion. Those elements may or may not be obvious in my work, but the influence is there. Working quickly is also very important for me, so I try to keep the look very minimal and clean.

There’s a core group of artists in the motion design world that inspire me - Ash Thorp, Beeple, and GMUNK, to name a few. There’s also a number of fine artists I look up to, such as James Jean, Alexander McQueen, and Damien Hirst. I tend to be bipolar in my consumption of art: some weeks I go without looking at references at all, and other weeks I binge on consuming huge amounts of art.

For my day job I work at a media and advertising agency, so most of my time is spent on client projects. However, weekends and nights are dedicated to personal work. Once you start making money on client projects, it’s hard to focus on anything else, but carving out time for personal work is incredibly important. It often builds skill sets that you can use in other areas. The inverse happens as well - I’ll learn a new plugin or trick for a client project, and I end up using it for personal work. The relationship is symbiotic.

On a good day, I push myself to make work that’s insanely imaginative, weird, or captivating. Other times, I just crank out an image as quickly as possible. A lot of people have this notion that they can only create something when they feel inspired, but then they end up not creating very much at all. It’s more important to stay committed to your craft, even if you don’t feel like pushing the envelope, or putting in the work.

The Silicon Valley area has such an amazing culture that blends technology, art and design. In the same way that online video revolutionized advertising, VR will be the next breakthrough for digital creatives, and being in the Bay Area brings me one step closer to that."

Matt is an animator and designer based in the San Francisco Bay Area. He has had the opportunity to work for brands such as Apple, Google, and Disney. 

Darius Puia is a 30-year old Digital Art Designer based in Germany. Darius Puia designs and has a keen eye for modern & colorful types of artwork, however, prefers to test newer themes. Lately, Puia has been trying darker and grittier themes: taking on new design challenges and making ideas come to life.

The term "cyberarts" is vague and relatively new; nevertheless much of the work described by this term is rarely described any other way. For instance, a common type of cyberart which is produced programmatically by applying a set of design rules to a natural or preexisting process. A program could produce a few million such 'works of art' in a minute.

The word "CyberArts" is claimed as a registered trademark by Miller Freeman Inc., promoter of a series of muti-media technology conferences known as CyberArts International during the early 1990s.

″Recent works of bioart propose to connect the viewer, transformed into a user, with different biological organisms by pirating their biometric data using digital interfaces. These immersive aesthetic propositions are based on a plural conception of the human body, forged in the crucible of cybernetics. Their new modes of communication explore the alternative path of an ecological continuum where the user enters a becoming-cyborg, far from the classic representations of human-machine coupling. They encourage us to reconsider the notion of bioart, in favor of cyberart.″

The history of computer art predates the computer art scene for several decades, with the first experiments having taken place in the early 1950s. Devices like plotters and teletypewriters were commonly used instead of video display screens. The earliest precursors to ASCII art can be found in RTTY art, that is, pictures created by amateur radio enthusiasts with teleprinters using the Baudot code.

In the early days of microcomputers, what could be shown on a typical video display screen was limited to plain and simple text, such as that found in the ASCII code set. In the early 1980s, users of IBM PC compatible computers began to experiment with ways of forming simple pictures and designs using only the 255 characters within the Extended ASCII character set, specifically known as code page 437, created by IBM. Modems and networking technology allowed computer users to communicate with each other over bulletin board systems (BBSes); the operators of these BBSes used ASCII art to enhance the aesthetic appearance of their systems. The common user interface or video mode shared by all systems was plain text. As a result, a "scene" of artists arose to fill the need for original art to distinguish one BBS from another.

Cyberpunk is a subgenre of science fiction in a dystopian futuristic setting that tends to focus on a "combination of lowlife and high tech" featuring advanced technological and scientific achievements, such as artificial intelligence and cybernetics, juxtaposed with a degree of breakdown or radical change in the social order.

DARIUS PUIA AKA BAKAARTS: SURREAL, CYBERPUNK AND SCI-FI ART

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