Nearly eighty articles originally published between 2010 and 2011 have now been recovered and are available through The Annex Updated.
These first texts mark the beginning of a larger undertaking: the recovery of the archive of aeqai.com, a publication that, between 2010 and 2019, brought together valuable writing on art, artists, exhibitions, and the cultural history of Cincinnati.
Final-Friday CAC @ 21c pairs a hotel gallery visit with CAC exhibitions in one free guided hour Cincy June 26 at 5:30p.
CAM's Pride night brings music, art making and free late-hour access to Eden Park on June 26 for Art After Dark in Ohio.
Thursday Art Play gives young children a hands-on CAC session tied to Homespun, with yoga and art making on July 9 2026.
Ayana Ross presents seven figural paintings at the Taft Museum as the 2026 Duncanson Artist-in-Residence.
Rites of Passage spotlights nine emerging artists at Manifest, opening July 10 with student work from eight U.S. states.
Although I am an avowed admirer of her solo work and have known her for nearly twenty-five years, I do not remember ever having spoken in person with Liudmila Velasco. About her work, about the weather, about how unbearable this or that artist can become. When I left the island, Liudmila was already practically an institution within Cuban women’s photography...
When we first came across Tim Harrier’s Shaman Spirit Guides, we dismissed them without mercy as the product of artificial intelligence. The mud-covered faces, the animals emerging from the background, and an unbroken frontal force produced, almost at once, a malignant suspicion. Suspicion ran far ahead of the work. And we are right to suspect almost everything in life. This series, no...
If you go to the Cincinnati Art Museum this summer you will see artwork from the contemporary art collection of Hollywood producer Douglas S. Cramer in two separate exhibition areas: one just upon passing the entrance foyer, where the Museum often houses small-scale teasers for future or current exhibitions; and the other in the First Floor changing exhibition hall, just across from the Terrace Café. Although the two are very...
Æqai is asking a variety of area artists to select one work of art from the permanent collection of either the Cincinnati Art Museum or the Taft Museum of Art, and tell our readers why it is important to him or her. Cole Carothers, a well known, and well respected Cincinnati painter, begins our series with his analysis of the Cincinnati Art Museum’s Gerhard Richter’s Abstract Painting. We...
(The following interview took place Sunday, June 14, 2011 in U-turn’s gallery in Brighton. Attending were the five organizers of U-turn, in alphabetical order: Molly Donnermeyer, Matt Morris, Patricia Murphy, Zach Rawe and Eric Ruschman. All are graduates of the Art Academy of Cincinnati. For the sake of brevity, this article offers excerpts from the conversation. )
There is a book. Before the exhibition, before the charcoal drawings spread across the galleries of the Contemporary Arts Center, before the viewer crosses the blue thresholds into the dreamworld of Freeman Little...
A few months ago I wondered in these pages what Macron was getting out of lending the Bayeux Tapestry to the English. Forty thousand French citizens signed a petition to block it, citing textile fragility and, I suspect, a touch of cross-Channel rancour as well. The other question remained: what would the British Museum get out of it.
Now and again, chance weaves a concurrence of circumstances that places us before a window opening onto the past. The opportunity to converse, undistracted, with the Austrian artist Stylianos Schicho was a privilege, since what most interests me in art are the sinews that bind it to whoever produces it.
Margaret Atwood tried Claude once and found the old computer warning still adequate. At the Babell Literary and Cultural Festival in Porto, according to Deadline and The Verge, she said she asked Anthropic's chatbot for information about the British detective series Father Brown and received a wrong answer. Her explanation was exact. Claude had absorbed reviews that discuss the show without revealing endings, so the system treated a field of deliberate omission as enough material for certainty. Atwood called the answer wrong, or a lie, then corrected herself. A language model does not know it is lying. It has no scene, no memory of the episode, no shame before the reader who asked for the ending.
The useful detail is the missing spoiler. Online criticism often withholds endings as a courtesy to viewers, and that convention becomes a hole in the training material. The chatbot did not invent inside a vacuum. It filled a social silence with fluent probability. That is why Atwood's complaint reaches past one failed query. The machine can sound confident at the exact place where the archive has been trained to be discreet. Anyone using it for research, business, school, or literary curiosity still has to return to the book, the episode, the record, or the person who actually knows what happened.
The phone alerts many Venezuelans saw before this week's earthquakes were not a glimpse of the future. They were the result of Google's Android Earthquake Alerts System, which turns phones into a distributed seismic network. Outside parts of the United States that use ShakeAlert, Android phones can use their accelerometers to detect motion that may indicate an earthquake. When enough phones near the source send similar signals with coarse locations, Google's server estimates what is happening and sends alerts to users who may feel shaking. The warning can arrive first because electronic messages travel faster than the damaging seismic waves moving through the ground.
The social fact is sharper than the technology. In countries without dense public warning infrastructure, a private phone network can become the first alarm of a national disaster. That may save seconds, and seconds can be enough to move away from glass, leave a staircase, or drop and cover before stronger motion arrives. It also means that an emergency function once associated with the state now depends on operating systems, device settings, network coverage, battery charge, and a company server. The alert on the screen is small, but behind it sits a new form of public safety built from private sensors in millions of pockets.
The AI data center boom is showing up in the price of ordinary machines. Apple raised prices across MacBooks, iPads, the HomePod, Apple TV, and Vision Pro after saying component costs had reached a scale it had never seen. The MacBook Neo now starts at $699 instead of $599, and some high-end Macs rose by hundreds or even more. Microsoft has cut RAM in cheaper Surface models, Xbox console prices have climbed by $100 or more, and Valve's Steam Machine starts at $1,049. The pressure comes from memory and storage shortages as AI companies and hyperscalers buy huge quantities of RAM and SSDs for model training, inference, and data centers.
The useful part of this story is that AI infrastructure stops being invisible when it changes a price tag. A student buying a laptop, a family replacing a tablet, or a player looking at a console is now competing with server farms that can pay more for the same components. The industry sells AI as software, but its physical appetite reaches into supply chains for chips, memory, storage, power, cooling, land, and water. The extra cost does not appear as an AI subscription. It appears as a worse base model, less RAM, a delayed purchase, or a computer that simply stays on the shelf.
