ADINA GLICKSTEIN is a reformed e-girl and an editor-at-large for Spike. Her column on tech and its aesthetics, “User Error,” runs the second Wednesday of the month.
As Silicon Valley adopts a century-old movement’s aesthetics, Spike’s editor at large resumes her tech column to ask: What forces compel us to reach back to some romanticized past?
How does life look that means to live forever? A case study in “longevity maximalist” Bryan Johnson’s shirtless quest to measure himself unto immortality
Backdropped by artist withdrawals and a live-streamed invasion, Spike’s editor-at-large shares her Berlin festival notes on tactical cuteness, short-circuiting censors, and engaging in the mess IRL.
How do we confront the end? In her last “User Error,” Spike’s editor-at-large examines mourning, melancholia, and the merits of staying in bed.
Faced with advances in language’s automation, a contemplation of writing unburdened by posterity and what kinds of freedom might lie beyond consent.
In Frankfurt, the net-art duo’s largest solo show to date sheds light on the internet’s dark corners and posits peer-to-peer ways out.
Barely sated, Spike’s editor-at-large gets to the bottom of a TikTok culinary trend.
Touting a punchy new memoir, Scammer, the disgraced influencer got on Zoom to spill the beans about grifting, the gendering of fame-seeking, and the it-girl as a startup.
Two exhibitions in Paris – Nile Koetting’s solo at Parliament Gallery and the group affair “Au delà” at Lafayette Anticipations – conjure data’s limitations in the face of the divine.
Claiming to automate labor, is AI actually creating more busy work for humans?
Hearing murmurs of crypto city-states in the making, a delibration on the complicated politics of exit.
Forget Y2K, the 2010s are back – at least until the nostalgia-fueled trend cycle’s next turn. But is retromania leading us down into a labyrinth of data horror?
Will we still set New Year’s resolutions when our consciousness lives on computers? Ringing in 2023 with transhumanists, goblins, and worms.
Victims or masterminds? This month, Adina Glickstein considers three girls’ grifts – and the startup-ification of subjectivity that might be the real crime after all.
On the final night of Berlin’s beloved TV Bar, Adina Glickstein ponders the uses and abuses of the slippery notion of “evil” with artist, author, and musician Steven Warwick.
From Dimes Square to the Network State, new frontiers are in the making. Adina Glickstein attends Urbit Assembly and considers the politics of tech-augmented exit.
Can film history help make sense of social media’s anxious un-realness? Our tech columnist parallels one app’s claims of authenticity and the cinematic angst of Lars von Trier and Thomas Vinterberg.
Digitally mutating architectural landmarks into playgrounds of color – see Berlin’s TV tower, Museum Island, and Kulturforum – Rossner’s IRL metaverse pluralization resists the creep of monopoly.
Adina Glickstein writes a travel diary from the end of the end of the world.
In her new column, “User Error,” Spike’s editor-at-large charts the volatility of love and crypto, eventually finding solace in nightcore and Avril Lavigne conspiracy theories.
Scent, memory, and language all imperfectly conjure the moments we keep coming back to. An ode to Rimbaud, a new fragrance from Celine.
Two decades into making digital art, Rafaël Rozendaal explores how websites are like poetry, dishes some lessons in exhibiting digital work, and argues for keeping the punk spirit alive in NFTs.
The Japanese designer on his new Spike collab, sustainability, and how totes are like dating apps.
