Joey Holder maps the collapse of shared epistemological infrastructure from Noosphere to Woosphere. Michelle Cotton has been quietly building the historical record of AI and art since 2017.

Andrea Mubi Brighenti coined the term artveillance in 2010 to map where art and surveillance meet. A look at his framework, Anna Friz and the electromagnetic commons, and Daniel Catt building plotter community infrastructure from below.

Hideaki Ogawa runs the Ars Electronica Futurelab and has directed the Sapporo International Art Festival twice. His philosophical foundation is Shinto animism applied to computational systems -- the machine as a negotiating partner, not a tool. We also look at what the Prix Ars Electronica has actually been rewarding in 2024 and 2025, and what the pattern says about where the field thinks it is.

A third model of field-building: Luca Bendandi and Vetro Editions as publishing infrastructure for the plotter world. Plus the Luxembourg Pavilion at Venice 2026 with Stilbe Schroeder and Aline Bouvy, and a note on Hungary under Orban.

Hideaki Ogawa of the Ars Electronica Futurelab on Shinto animism and what Prix Ars Electronica actually rewards. Annette Weisser on the degree zero of photographic information and why AI-slop normalizes fascism.

Catherine D'Ignazio's Data Feminism framework and Simone Browne's Dark Matters examined as complementary positions on the politics of sensing, counting, and who the detection apparatus fails to see.

Felix Luque Sanchez and the European curatorial infrastructure for machine-systems art: from the pill-sorting robot and Stiegler-inflected autonomy, to Anselm Franke, Richard Birkett, and Franziska Nori building the vocabulary that made technically complex surveillance work legible.

Golan Levin arrives at the plotter community from three decades of institutional legitimacy. Licia He arrived from 700 days of daily practice. Both end up at Gazelli Art House London. This episode examines what those two paths reveal about how a field gets built.

Tung-Hui Hu on digital infrastructure as Cold War inheritance and political lethargy; Noam Segal on post-indexicality and the Guggenheim technology program; a new soil art book as counterpoint.

Vera Molnar and the machine imaginaire; Sarah Cook and CRUMB; Amy Goodchild on writing as field infrastructure.