The Intersect of Art and Tech

The Intersect of Art and Tech Subscribe for updates on the art-tech relationship. The Intersect: Art & Technology Fusion

Welcome to The Intersect, a unique space where art meets technology.

"The Intersect" examines the reciprocal influences of technology and the arts, providing analyses of how tech advancements shape artistic expression and how creativity fuels technological progress. Curated by me, Juergen Berkessel, we explore how technological advances shape artistic expression and vice versa. This platform serves as a digest for enthusiasts and professionals who seek to understan

d and contribute to the evolving dialogue between these two dynamic fields.

🔹 What You’ll Find Here:

Insightful Articles: Deep dives into how technology influences art and how creativity drives tech innovations. Featured Discussions: Conversations with artists and technologists who are bridging the gap between creativity and technological execution. Resource Sharing: Curated links and resources for those who inhabit the nexus of art and technology.

🔹 Join Us:
Stay updated with the latest trends at the intersection of art and tech. Engage with a community that values deep, nuanced discussions about the integration and mutual influence of these fields.

🔹 My Background:
I'm Juergen Berkessel, founder of Polymash, a digital strategy company with a focus on podcast production, SEO, and web design. But I also combine my expertise in digital strategy with a passion for art and music, offering a unique perspective on the convergence of technology and artistic expression.

The AI creativity debate usually goes one of two ways: either it's going to flatten everything into algorithmic mush, or...
08/28/2026

The AI creativity debate usually goes one of two ways: either it's going to flatten everything into algorithmic mush, or it's going to free artists from the boring parts so they can focus on the good stuff.

Both of those things might be true at the same time. That's the uncomfortable part.

The last piece in Issue 80 of The Intersect sits with this tension rather than resolving it. Because the honest answer isn't "AI bad" or "AI good" — it's that the same tool can produce genuine surprise in one person's hands and pure optimization in another's. And the difference isn't the tool. It's the intention behind it.

What worries me isn't that AI will replace creative work. It's that frictionless tools tend to produce frictionless output. And friction — the resistance, the constraint, the thing that forces a choice — is often where the interesting stuff lives.

When everything is easy, what do you do with the hard questions?

Full issue at https://jb9.me/o6hDae

Dave Eggers walked into OpenAI headquarters and, by most accounts, did not say what they were hoping to hear.The author ...
08/27/2026

Dave Eggers walked into OpenAI headquarters and, by most accounts, did not say what they were hoping to hear.

The author of "A Heartbreaking Work of Staggering Genius" apparently used the occasion to push back rather than celebrate. Which is interesting, because the tech industry has gotten very good at inviting critics inside and calling it a conversation.

There's a scene in the old film "Guess Who's Coming to Dinner" where the guest's very presence is supposed to resolve the tension. Except it doesn't. The tension is the point.

Something similar seems to be happening as AI companies court writers, artists, and musicians. The invitation itself is framed as progress. Whether anything actually changes is a different question.

Juergen unpacks what Eggers said, what it means for the ongoing courtship between Silicon Valley and the literary world, and why the most interesting thing here might be what didn't happen.

https://jb9.me/yicvtJ

I wrote an essay entirely by hand. Every word. Then I ran it through an AI detector out of curiosity.It came back 80% AI...
08/26/2026

I wrote an essay entirely by hand. Every word. Then I ran it through an AI detector out of curiosity.

It came back 80% AI-written.

My first instinct was to fix that score. But every edit I made to sound "more human" made the writing worse. The humanizer tools I tried were even more brutal. They passed the detector test and produced genuinely terrible prose.

So here we are: AI detectors are getting sharper, humanizers are making writing dumber, and people who write manually are getting caught in the crossfire.

The new issue of The Intersect is out, and this is the thread running through it. Not just the detector arms race, but the bigger question of what we lose when the tools we build to verify authenticity start penalizing it instead. There's also a novelist walking into OpenAI headquarters and not saying what anyone expected, a look at what Apple thinks counts as a "real" photo, and more.

Read the full issue here: https://jb9.me/fedOVK

In Norway, someone is turning the aurora borealis into sound.Not as a metaphor. Literally — the electromagnetic data fro...
08/25/2026

In Norway, someone is turning the aurora borealis into sound.

Not as a metaphor. Literally — the electromagnetic data from the Northern Lights, converted into audio. The sky as instrument.

It's a genuinely strange and beautiful idea, and the "with caveats" in the headline is doing real work. Because there's always a question worth asking when science meets spectacle: what gets lost in translation? What does it mean to "hear" something that was never meant to be heard?

This one stopped me mid-scroll. Read it here: https://jb9.me/vl6Svt

Christie's held another Art + Tech Summit, and the central question was essentially: will the people getting rich from A...
08/24/2026

Christie's held another Art + Tech Summit, and the central question was essentially: will the people getting rich from Anthropic and OpenAI IPOs eventually buy paintings?

The honest answer, apparently, is: not yet. The new tech money exists. The auction house knows it exists. But there's a gap between someone becoming a billionaire and that person deciding they want a Basquiat on the wall.

What's interesting isn't the optimism - auction houses have always courted new money. What's interesting is the uncertainty underneath it. Christie's is betting that the cultural habits of this generation of wealth will eventually look like the last one's. That's not obvious. These are people who grew up with screens, who think about ownership differently, who might find the whole white-glove auction ritual a bit theatrical.

Or maybe they'll love it. Money has a way of making old rituals feel newly appealing.

The full piece is in this week's Intersect: https://jb9.me/UoRLpX

Grimes posted on LinkedIn.Let that sentence sit for a second.Not just posted — showed up as a kind of artist-in-residenc...
08/24/2026

Grimes posted on LinkedIn.

Let that sentence sit for a second.

Not just posted — showed up as a kind of artist-in-residence for an AI company, lending credibility to a platform that very much wants to be seen as creative-friendly. The piece in this week's Intersect calls it what it is: artwashing. The practice of attaching an artist's name and aesthetic to a tech product so the product feels less like a product and more like a movement.

The uncomfortable part isn't that Grimes did it. Artists have always had complicated relationships with commerce. The uncomfortable part is how seamlessly it works — how quickly "musician collaborates with AI company" becomes a story about artistic possibility rather than a story about marketing.

Credibility is the thing being sold here. And credibility, it turns out, is exactly what AI companies need most right now.

Worth reading if you've ever wondered why tech firms keep putting artists in their press releases. https://jb9.me/o87S47

David Hockney died recently, and the remembrance that stuck with me wasn't about his paintings.It was about his fax mach...
08/21/2026

David Hockney died recently, and the remembrance that stuck with me wasn't about his paintings.

It was about his fax machines.

In the late 1980s, Hockney was sending composite fax artworks to friends — tiling multiple sheets together into large-scale images, treating the fax as a medium rather than an office appliance. He later moved to iPads with the same enthusiasm most artists reserve for a new brush.

What's striking is the consistency of the impulse. Every new machine that crossed his path, he immediately asked: what can I make with this? Not "is this a legitimate art tool?" Just: what does it do, and what happens if I point it at something beautiful?

That's a rarer instinct than it sounds.

The New York Times ran a lovely piece on this side of him. We wrote about it in Issue 83: https://jb9.me/L9nNtV

Simon Weckert made a coat that surveillance cameras can't find a person in.Not a cloak, not a sci-fi invisibility suit -...
08/18/2026

Simon Weckert made a coat that surveillance cameras can't find a person in.

Not a cloak, not a sci-fi invisibility suit - a coat. Wearable, real, and apparently effective enough that the cameras just... don't register a human being inside it.

The piece sits in that uncomfortable space between art project and political statement. Because the moment you make something that defeats surveillance infrastructure, you're not just making a garment - you're making an argument. About who the cameras are for. About who gets to move through public space without being tracked. About whether "public" means anything anymore when every square meter is logged.

Weckert has done this kind of thing before - his work tends to find the seam between a technology and the assumption baked into it, then pull. The coat is funny and unsettling in equal measure, which is probably exactly the point.

More on this in the latest Intersect: https://jb9.me/K9KpwS

Christie's held an "Art + Tech Summit" this week. The central question, apparently, was whether the new wave of AI billi...
08/11/2026

Christie's held an "Art + Tech Summit" this week. The central question, apparently, was whether the new wave of AI billionaires will eventually buy paintings.

That's the art world in 2026: auction houses running sales forecasts dressed up as cultural conversations.

But here's the thing that actually stuck with me. The same technology that created those fortunes is already in artists' hands - and they're using it to do something completely different. Not accumulate. Question. Poke at systems. Make garments that confuse surveillance cameras. Grow gardens out of malware. Celebrate deliberate mistakes.

The new issue of The Intersect is out now, and it sits with that tension: between tech as a wealth machine and tech as a creative tool. Between the art world's anxiety about new money and the artists who couldn't care less about any of it.

There's also something in there about art degrees - and why the education everyone called impractical might turn out to be the most future-proof one of all.

Five stories. One through-line. Worth an hour of your time.

https://jb9.me/vGnIv9

Remember when TV shows had actual color?Somewhere in the last decade, prestige television decided that desaturated gray-...
08/05/2026

Remember when TV shows had actual color?

Somewhere in the last decade, prestige television decided that desaturated gray-green was the visual language of seriousness. Gritty story? Drain the color. High stakes? Make it look like someone left the footage in a puddle.

The weird thing is, it worked — for a while. Then everyone did it. Now it's just the default, and default is the enemy of meaning.

Contrast isn't decoration. It's how you tell an audience what to feel and where to look. When everything is the same temperature, nothing stands out. And when nothing stands out, you're not watching a story — you're watching a mood board.

Issue 80 of The Intersect starts here, with the most literally visible version of a question that runs through the whole issue: what happens when a stylistic choice becomes so widespread it stops being a choice at all?

https://jb9.me/osSqui

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