Created by Zach Lieberman in collaboration with Google’s Data Arts team, ‘Land Lines’ is a web experiment that lets you explore Google Earth satellite imagery through gesture. “Draw” to find satellite images that match your every line; “Drag” to create an infinite line of connected rivers, highways and coastlines.

Created by a Golan Levin, David Newbury, and Kyle McDonald, with the assistance of Golan’s students at CMU, Terrapattern is a visual search tool for satellite imagery that provides journalists, citizen scientists, and other researchers with the ability to quickly scan large geographical regions for specific visual features.

To enhance the hypnotic and ritualistic aspects of their music, Yerçekimi (Gravity), a band from İstanbul, Turkey created a website that uses satellite imagery of alien landscapes from around the world and in doing so matches the atmosphere of their music perfectly.

Picture the Sky is a project by Karolina Sobecka in an attempt to reverse the process of satellite imagery to where we, as one, become a very large ‘sociotechnological apparatus’ looking up at the sky, an infrastructure for our technology. Take part in the project this Saturday!

Project explores narratives through colour, line, and form found in geographic satellite imagery. Utilising Google Earth together with custom software, the final install spans over 27 HD screens pointing locations of the films that have been produced by IFP.

Created by Franz Rosati, ‘Latentscape’ depicts exploration of virtual landscapes and territories, supported by music generated by machine learning tools trained on traditional, folk and pop music with no temporal and cultural limitations.

Created by Matteo Zamagni, “Horror Vacui” is a non-narrative film that explores geological formations of Earth and the frenetic hyper-development attained by humankind.

Created by London-based musical duo the Network Ensemble, Selected Network Studies is a series of audiovisual pieces created using network data collected from a number of locations across London, Berlin and Rome. It is released as limited edition UV-printed, vacuum-sealed mylar package containing a 2GB SD Card with one hour of video material and 45 minutes of sound material.

At its best, creative inquiry offers intellectual nourishment, empowerment and solace. At the end of 2016, we need all of those, which is why remembering – and celebrating – the outstanding work done this year is all the more important. Over the past twelve months we’ve added more than 100 projects to our archive – and with your help we’ve selected the favourite ones!

Created by Studio Puckey & Moniker, Radio Garden is a research project that places radio research within contemporary discussions about migration, cultural identities, encounters and memories by generating new knowledge about the meaning of radio and listening in the age of globalisation and digitisation.

At CAN we don’t really care for lists. But as we look back as the year winds down, we’re known to make an exception. To keep up with our tradition, we present our most memorable projects of the year.

This past Saturday Ryoji Ikeda presented the North American premiere of superposition to a crowd of several hundred at the Musée d’art Contemporain de Montréal (MAC). As would be expected, the sixty-five minute multiscreen performance played out as kind of a data aesthetics megamix that flashed through a series of precisely choreographed abstract visual vignettes that grappled with the digital sublime and pondered the agnosticism of network culture.

Drawing on his expansive knowledge of the history of representation, artist and scholar Pablo Garcia ruminates on the significance of the selfie in response to the ‘New Perspectives’ theme of HOLO 1’s PERSPECTIVE section.

Benedikt Groß is a speculative and computational designer whose work is often featured on here on CAN. We recently interviewed him in order to glean a little insight about Benedikt’s thoughts his recent work, ‘outsider’ cartography, and generative strategies.

Generating Utopia is a realtime visualisation of social location data that explores questions of what human habitats could look like if it was possible to transform them depending on the location-based behaviour of their residents.

“Evidentiary Realism” is an exhibition that delves into the aesthetics of sites of inaccessibility, incarceration, and intrigue. CAN’s NYC correspondent Dylan Schenker ponders the Paolo Cirio-curated show, which emerges from the collaboration of NOME and the Fridman Gallery.