A book can hide a galaxy in its edge.

Published in 1979, Kohei Sugiura’s Zen Uchu Shi (Summa Cosmographica) turns star charts, data, and text into a reading environment. It does not simply visualize information. It reprograms how the eye moves: density becomes navigation, overprinting becomes time, and the page becomes a field you cross rather than a surface you consume.

Why do goldfish so often make us uneasy?

They are undeniably beautiful, yet their beauty can feel manufactured.

They live inside transparent containers, as if they are allowed to exist, and also permanently watched.

In this issue, we use the goldfish as a way to ask a few questions:

What kinds of meaning have humans projected onto goldfish?

Why do they so often carry a dreamlike, specimen-like, even corpse-like feeling?

Making Our Miracles is a collaborative project by artist Clayton Campbell and curator Cansu Waldron, who together present a series of contemporary digital ex-voto art works created by a cohort of international artists using AI-assisted art in a unique participatory project. The exhibition is presented in partnership with DeepAI, and has been invited to be part of the 7th edition of The Wrong Biennale, taking place from November 1st, 2025, to March 31st, 2026. This edition of The Wrong is dedicated to artistically exploring the transformative potential of AI-generated art, video, and sound created by artists.

To enter the exhibition- https://thewrong.org/MakingOurMiracles

To learn more about the project- https://www.digitalartsblog.com/exhibitions/what-goes-into-a-collaborative-digital-art-project-making-our-miracles

All feedback is welcome from our Elsehere colleagues!

CHUN HEEHYUN is a composer and performer who treats music as narrative. Her soundscapes do not accompany the image. They lead it, shaping time, space, and emotional structure.

Working through modular synthesis and Eurorack systems, alongside MIDI orchestration that re-voices Western instruments toward the timbral memory of gayageum, haegeum, and janggu, she builds a listening field where texture becomes cinematic language.

This feature is part of Artists | In Orbit, ELSEHERE’s slow thread for staying with practices in formation.

For artists and researchers: submissions are open via ELSEHERE Open Call in bio.

We archive and stay with artists and practices that keep advancing in method and aesthetics. If you are building your own thread, we welcome your submission into our editorial and curatorial field.

Artists | In Orbit is ELSEHERE’s ongoing artist feature and archive line.

We follow practices in formation, with attention to method, aesthetic development, and work as it evolves.

Next feature incoming.

How do finite rules generate infinite forms?

In this issue, we trace the aesthetic logic of digital structures, from information aesthetics to contemporary generative practice, and ask how algorithms produce and embody value at the edge of order and randomness.

Our focus is not technique for its own sake, but critical framing:

When creation becomes procedural, what shifts in artistic subjectivity and originality?

Is the machine merely executing rules, or participating in creation?

Keywords: generative art | fractals | algorithmic music | AI-generated content

Chinese New Year is not just a holiday. It is texture, distance, color, sound, and the kind of memory that returns before you do.

Stories of Chinese Lunar New Year, a special edition that gathers works and writing that reimagine the season through objects, places, and feeling.