Trausch Hauser Art Foundation

Lillian Schwartz began her pioneering work at Bell Labs in 1968, creating computer-generated films that merged art, mathematics, and technology. Her investigations into perception expanded computational art's possibilities.

The classic art collectors dinner reaction to digital art: condescending look, patronizing head tilt, and dead arm. Thankfully, that narrative is changing. This week in Hong Kong, @ArtBasel and @LACMA are moving the conversation forward through #Zero10 & #DigitalDialogues, alongside many other individuals, galleries and institutions we applaud.

[1/3] Arab Bank Switzerland @arabbankCH Digital Art Prize 2026 : Open Call is live ! 🏛️ For the first time, the prize unfolds within a curated exhibition inside @NFCsummit. Theme: SYSTEMS. Curated by @NinaRoehrs. $10,000 prize + acquisition of an artwork for the ABS collection.

all modules are identical - built with composable, open source tools - making synchronized audio recordings over the network is just part of the system’s nature #puredata #python #bash #linux

Museum labels weren't designed for works with distributed authorship and intangible materials. How an institution labels a digital work encodes significant curatorial decisions. This apparently minor detail deserves serious attention.

The edition model — developed for prints and photography — is being applied to digital art in ways that are sometimes coherent and sometimes arbitrary. What constitutes the "original" of a digital work? The field needs a shared answer.

Who authored a generative work — the artist who wrote the algorithm, or the collector who minted it? Blockchain doesn't resolve this. It is an art historical question, and the field is answering it by default rather than by design. #GenerativeArt #ArtHistory

@prrfbeauty thank you

One of our deepest areas of interest is blockchain as an archival tool for preservation. It is central to our Preserve Initiative, which has helped preserve 240K+ NFTs, and to much of our work today, including Satoshi Relics. This article explores preservation, legibility, and what it means to keep records humanly legible through our work on Bitcoin: x.com/prrfbeauty/sta…

A record can survive its infrastructure and still become historically opaque. That is the harder challenge: not only preserving the thing, but preserving what it meant. Legibility, context, and continuity matter just as much as storage. So the deeper issue is not just technological. It is institutional. Stewardship becomes impossible when novelty is funded and durability is not.

From Anne James, Digital Anthropologist:

Exactly 5 years ago today, @beeple sold this NFT for $69Mn Today, its top offer is $31K 🥹

TIME’s new cover: How Anthropic found itself in an existential fight over the future of war time.com/article/2026/0…

Clip from one of the earliest Large Scale Digital Art Installations, and an early predecessor to the TouchDesigner creatives of today. TV War by Akira Asada, Daizaburo Harada, Haruhiko Shono, and Ryuichi Sakamoto, 1985.

@francis_ost congratulations

I got an email and had to read it ten times before I was sure it was real — and then I started crying, slowly realizing what it might mean for my future and my work. We’re so used to reading “we regret to inform you…” that it feels almost unreal when one of your greatest wishes in an application actually comes true. I still can’t quite fathom it, and definitely can’t wait to tell you all about it once I’m allowed. Here is to hoping and never giving up. Something good might just wait around the corner 🤍

At "Inside the Black Box," an online meet-up held by CIFRA, Anika Meier spoke to the artists !Mediengruppe Bitnik and OONA about hacking surveillance systems through art, turning cameras into collaborators and control into play. Read the interview on Right Click Save ⬇️

The only artist allowed to use green is @sashastiles. As there is the Klein Blue, there is the Stiles Green.

Let me resume and make it simple :) This is the first poetic synthesizer where music modulates language and generates visual forms :) With @WenNew_Atelier Powered at @macLyon With the help of @artontezos_ Curated by @MarleneCorbun Filmed by @edouard With love ❤️🧬

InkField | 墨域 is about to be released. From the first version, both humans and bots will be able to create on it together. In a way, the system reflects the time we live in. Humans and machines are already living in a kind of symbiosis. I’m generally an optimistic person. But I have to admit, 2026 feels a little heavy right now. Maybe the work will reflect that. Maybe it won’t. Either way, wishing everyone well. I still believe the dawn is coming.

The white cube was designed for static objects in fixed relationships with light and space. Most digital art requires none of these conditions and is constrained by all of them. This is a failure of institutional imagination.