Editorials

Post-internet artist Ed Fornieles spoke with Peter Bauman (Monk Antony), exploring how ecosystems and emergent systems underpin his practice. They cover the post-internet generation's legacy, models of human-AI collaboration and art as human sacrifice, a person dedicating their life to what they make.

AI scientist, researcher and artist Aaron Hertzmann spoke with Peter Bauman (Monk Antony), arguing that AI can automate certain tasks but that true authorship remains a human social construct rooted in personal relationships and agency. They cover the enduring question of whether machines can make art, AI’s historical analogies from photography to streaming, and what is genuinely new about this moment.

‍Hana Amori, co-founder of the artist collective Keiken, spoke with Peter Bauman (Monk Antony) about worldbuilding as a fundamental lens for making to explore consciousness, community and lived experience. They cover fantasy as protection, relationality as ethos and what it means to collaborate with both humans and machines.

Kyle McDonald is an artist working with code. He spoke with Peter Bauman (Monk Antony) about his wide-ranging engagements with technology and culture. They cover McDonald's chatbot-to-AI-researcher-to-artist origin story, how 2015 made computers feel softer and more human, plus the idea that AI is building a dense mirror world out of every trace of our digital past.

Sougwen Chung’s solo exhibition RECURSIONS 遞迴 (2026) combines robotics, AI, painting and performance in a protocolic stack. The artist and researcher exploring symbiosis between robotics and living systems spoke to Peter Bauman (Monk Antony) about the work. They discuss data as self-portrait and what it means to co-author with a machine.

Wendi Yan and Karyn Nakamura are artists, technologists—and friends. In the following conversation, a glimpse into their everyday “joint psychoanalysis,” Yan and Nakamura discuss the origins of their practices, which circle the same questions from different angles. They cover the inseparability of image- and knowledge-making, knowledge as an artificial construction, and the tools that make them feel like gods.