Augmented Reality Artwork Vandalized

©️Sebastian Errazuriz

Augmented Reality Artwork Vandalized – Sebastian Errazuriz

Medium: AR effect Location: New York’s Central Park Date: 2017


Deface, vandalise, DDOS, breach, appropriate, override:

digital graffiti

What classifies as a counteraction to the corporatisation of the realm between public space and virtual space (a.k.a. social media corporations)? Where is this virtual public space? How do we experience virtual reality without being monopolised by corporate content? Social interactions take place as if they are merely a marketing play. Creativity as a virtual branding game. The ability to assemble virtual images of things that either are not physically present or are not conceived, created or considered by others -irl- in the same way. In 2017, a Snapchat X Jeff Koons augmented reality collab 3D sculpture of Koons’ famous Balloon Dog became digitally visible in New York’s Central Park. 24 hours after its online release, the artist Sebastian Errazuriz and his team from CrossLab administered a duplicate 3D AR Balloon Dog + graffiti. Connected by geo-tag to the exact coordinates, the “vandalised” AR sculpture replaces the original AR object owned by a company.

How to Disappear

How to Disappear – Total Refusal

Medium: Battlefield video game machinima essay film Date: 2020.

About How to Disappear

“How to Disappear” is an anti-war movie in the true sense of the word, searching for possibilities for peace in the most unlikely place of an online war game. It’s a tribute to disobedience and desertion – in both digital and physical-real warfare.

About Total Refusal

Total Refusal is an open artists’ collective which criticizes and artistically appropriates contemporary video games. However, as most mainstream game narratives employ the same infinite loops of reactionary tropes, the genre largely fails to challenge the values of their players and instead affirms hegemonial moral concepts. Acknowledging that this media is currently not realizing its cultural potential, we aim to appropriate digital game spaces and put them to new use. Moving within games but casting aside the intended gameplay, we rededicate these resources to new activities and narratives, looking to create “public” spaces with a critical potential.

Vimeo link

The Convenience Store

The Convenience Store – Jonne Hansson

video still from The Convenience Store, 2018, digital video from Grand Theft Auto V in-game editor (PC), voice-over by Jonne Hansson, August Bällgren and Evelina Maria Odette Jönsson, sound design by Agatha Lewandowski

The story follows three (not long time ago) graduated artists who went to Umeå Academy of Fine Arts in Sweden and then moved to the fictional city Los Santos (based on Los Angeles) in hope to succeed as artists. They have struggled in living and working within different artistic fields. Some years have passed since they all graduated, and one day they accidentally meet each other in a convenience store. In a setting, similar to Kevin Smith’s cult classic “Clerks”, they are awkwardly starting to have a strange, meta-referential conversation with each other.

Jonne Hansson

MILAN MACHINIMA FESTIVAL interview linkVimeo link


r/place was first launched by Reddit on April 1, 2017, and was revived a few days ago (April 1-5, 2022). Signed in Reddit users could place one pixel at a time, once every five minutes, anywhere on the digital canvas by tapping/clicking on it. The pixels or tiles form a real-time mosaic curated by (a.o. sub-Reddit and Discord?) groups who often fought to not be “painted over”, i.e. to keep their image on the canvas. A truly collective colourful piece. This image is a screenshot, the original digital artwork is wiped clean again.

For more information about the mosaic icons visit:

extreme whitespace

Amy Alexander – extreme whitespace

These live coding works are created in the Linux/Unix text terminal computer environment. Its Perl script modifies the terminal into a real-time visual display. Text, spaces, and commands are typed and executed; multiplying, distorting, shifting, and changing colours create lines, patterns and transform graphic visuals. Got to love the computational aesthetics of 2004, low-tech digital text performance and the minimal ingenuousness of programmed text streams illustrative of the early days of the internet. A sample of the digital past.

link 1 / link2

Computer Structures 1-1a, 2a, 3a, 4

Computer Structures 1-1a, 2a, 3a, 4 image 1 of 2
Computer Structures 1-1a, 2a, 3a, 4 – Peter Struycken

“These six offset lithographs are smaller versions of a series of enamel on Perspex paintings created by Peter Struycken. The original paintings measured 150 x 150 cm and were made in 1969.

Struycken created the paintings from a series of computer-generated images produced using a computer program, or code, written by the artist. The first image in the top left corner, entitled ‘PROGRAM’ is an example of this code.

Struycken welcomed the ability of the computer to calculate endless visual alternatives for the arrangement of a series of different coloured squares across the picture plane. These 5 images are from a series of 8 paintings, which were chosen as the final selection from a much larger sequence of images, all of which are versions of one another. For Struycken, the computer enabled him to investigate the role of chance in the creative process, whilst also retaining some measure of control.” – V&A South Kensington collection

Click here for information about the OSTRC program the artist used to create these artworks.

here for more information about digital artist (1960-2000) from the Netherlands