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The Tortoise and the Roller Coaster

On a sculpture in Duisburg, Germany

October 31st, 2026 | By Jorge Rodriguez

In its October 19, 2026 edition, The Christian Science Monitor Weekly devotes a double-page spread to an interactive sculptural installation. I mention it for its photograph, which is hardly anything special in itself, though it has something striking about it. The contrast between the abyssal blue of the background and the gentle lines of light is lovely.

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Dreams, Colors, and a Little Sunshine

October 23rd, 2026 | By Jorge Rodriguez

I have sometimes thought about what, for once, I might call “the oneiric substance,” if only to steer the question into less sinister territory: do dreams arise from experiences not fully processed, or are they autonomous energetic structures, detached from various material or temporal sources, that pass through the mind in search of the lost warmth of emotions? The question has its beauty.

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Geographies of Transit

October 14th, 2026 | By Ibis Hernández Abascal

In encounters with certain works of contemporary visual art, perception activates modes of association that situate aesthetic experience in territories where matter, gesture, and time intertwine. Elizabet Cerviño’s (Manzanillo, Cuba, 1986) exhibition The Rhythm of Resilience, recently presented at Gallery 114 in Ybor City, Florida, unfolds within this horizon.

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Black-and-white photograph of a bare vine stem with curled wire against a black background.

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Michael Wilson

November 24th, 2015 | By Kent Krugh

Area photographer Kent Krugh, who has become Aeqai’s photography editor, and will be selecting photographers’ work from the region, nationally, and internationally and offering our readers photo essays of the work he selects for us.

Brown quilt with pink and red diamond blocks on a bed-like platform, with a human skull on a white shelf against a white wall.

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Take a Trip To Joel McDonald’s Obby Obby

November 24th, 2015 | By Julie Gross

I want death. These are the words I uttered aloud to artist Joel McDonald during the opening of his first solo exhibition Obby Obby at Zephyr Gallery in Louisville, KY. The death I was addressing was not of the physical, but the material piece titled Die: Tunnel, which consists of a make shift bed atop with a brown and pink color schemed quilt sewn in a modernized Rambler block pattern.

Dusk rendering of a theater building with a steep pitched roof and a glazed entrance, with people gathered at the doors and city buildings around it.

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Capital Campaigns to Fund Two Theaters in Metroplex

November 24th, 2015 | By Sue Ann Painter

In the September 2015 issue of Aeqai, I discussed Cincinnati’s cultural building boom, as evidenced by the renovations and expansions at Christ Church, Cincinnati Union Terminal, and Music Hall. Now we are seeing additional major building projects for performing arts programming in Downtown Cincinnati and in Downtown Middletown.

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The Delicate Corset of the Anima

October 13th, 2026 | By Jorge Rodriguez

Whenever I take part—as a curator or a viewer—in an exhibition bringing together several artists, seven women in this case, any number of men or any combination of the two sexes, I try to imagine the reasons, the implicit mystique that such a combination requires.

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Give Don't Take

October 11th, 2026 | By Jorge Rodriguez

On Saturday, September 12th, The Annex Gallery brought together some forty people for an evening of celebration and fundraising dedicated to advancing the education of children living in some of the world's poorest communities. Jens G. Rosenkrantz and Kay Hurley, mother of Katie Hurley Wales, opened the gallery to host a benefit for Brighter Children, the organization led by Katie, under the banner Gather with Purpose.

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The Most Merciful Thing in the World

October 4th, 2026 | By Jorge Rodriguez

Beyond I.T.I.N.E.R.A.T.I.O.N.S., at The Annex Gallery, The Most Merciful Thing in the World, by renowned American artist Trevor Paglen, was the first exhibition I visited in the current FotoFocus Biennial at its main venue. Open since October 1, it held its official reception only yesterday, on the 3rd, following a performance-lecture by Paglen. This carefully conceived exhibition has been curated by Kevin Moore, Ph.D., Artistic Director and Curator of FotoFocus.

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Conceptual AI-generated black-and-white photograph of a wooden voting booth in a small-town hall, with a vast windowless data center building visible through the window behind it.
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The Ballot Refusal
November 6th, 2026 | By Jorge Rodriguez

Voters in American towns and counties turned down data center development almost everywhere they were asked on November 3. According to Ballotpedia, 41 local ballot measures in 10 states dealt with the large computer buildings that run artificial intelligence services, through bans, temporary pauses, rezoning requests and nonbinding advisory questions. With most results counted on Wednesday, CNBC and Scientific American reported that voters sided against data centers in every case but one. In Wells, Maine, more than 80 percent approved a 180-day pause on data center construction that also applies to projects already proposed. The single exception was Harwood, North Dakota, where voters rejected, by about three to one, a proposal requiring extra review of industrial projects, data centers included. A $3 billion data center is already being built near the town.

The local votes came alongside races in which the buildings were a campaign issue. In a CNBC voter poll, 56 percent of voters said data centers were a crucial or major factor in their decision. Ohio’s incoming governor, Amy Acton, supports a conditional moratorium that would require new data centers to pay all of their utility costs and to be built with union labor, a position that could slow a large computing site planned by OpenAI, Nvidia and SoftBank in southern Ohio. The tallies are still unofficial. In towns that approved bans or pauses, developers will have to wait out the moratoriums or persuade voters to change the rules.

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Conceptual AI-generated black-and-white photograph of a long, nearly empty hospital corridor with a single nurse walking away beside a row of empty chairs.
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The Delayed Staff Plan
November 5th, 2026 | By Jorge Rodriguez

Britain’s health secretary, Yvette Cooper, told MPs on November 4 that artificial intelligence could mean the National Health Service in England needs fewer staff in some areas. Giving evidence to the House of Commons health committee, she said the technology “will lead to us wanting to increase certain areas but also to potentially reduce certain areas as well.” She named no jobs and announced no cuts. She also confirmed that the 10-year workforce plan, which will set how many doctors, nurses and other staff the health service trains and hires, has been delayed again and will now arrive in the new year, with no date. Cooper said predicting staff needs is much harder than it was two or three years ago.

The direction she described moves people away from hospitals. She told the committee she wants more emphasis on family doctors and community mental health care, and less on the hospital workforce over time. Practice nurse leaders complained that nurses were left out, and the Royal College of Nursing had already asked in June for the plan to be paused, arguing that it counted on AI savings without enough evidence. A separate independent review of NHS productivity and AI, led by Mark Bailie, a non-executive director of NHS England, is due in early 2027. Cooper suggested giving universities and training colleges clearer signals about where staff are needed, but for now they must plan student places without the official numbers.

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Conceptual AI-generated black-and-white photograph of a person seen from behind sitting hunched on the edge of a bed beside a face-down smartphone.
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The Unconsented Image
November 4th, 2026 | By Jorge Rodriguez

Seven in every 100 adults surveyed in Australia, the United Kingdom and the United States say someone has used AI to make or spread sexual images of them without their consent. The survey of over 7,200 people, led by Nicola Henry of RMIT University in Australia and published in the International Journal of Human–Computer Interaction, counted three kinds of abuse since age 18. These were having a nude or sexual image of oneself created or altered with AI tools, having such an image shared, and being threatened with its release. Men reported it at over twice the rate of women, 10.2% against 3.8%, and rates were also higher among people under 35, people from racial and ethnic minorities and people with disabilities.

Women reported more fear for their safety and more damage to their mental and physical health. Almost 87% of all victims described at least one harm to their health, relationships, work or finances. Henry warned that the real number may be higher, because some people never find out that a fake image of them exists. The research was funded by Google, and a Google researcher, Rebecca Umbach, co-wrote it. Henry points to Australia’s proposed digital duty of care, which would require online services to prevent foreseeable harm instead of reacting after it happens. She also asks for better education, accessible support for victims and for technology companies to build safeguards into AI image tools from the start.

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