Dar-Sagol’s co-founders are Aviram Souhami, as well as Erez Eisen from Infected Mushroom, the iconic psytrance duo. Together, they develop unconventional tools that allow artists to radically transform their sounds. I was curious to hear from Dar-Sagol about how musicians and the electronic scene are impacted by the current AI landscape, as well as what innovation looks like at this moment.

A number of High Resolution conversations have focused on the impact of collaboration and community on one’s practice in the context of visual arts, but I did not yet get to speak with someone who navigates the intersections of audio, production, and tech about that context. It feels pressing to look at what is happening in other creative domains, and how similar pressures and technological shifts shape both fields. As always, we also get into some predictions, discussing the future impact of AI on both the electronic music industry and the musicians’ studios.

If this resonated, I’d be grateful if you passed it to one person who you think should be reading Bytesize. Not a mass forward, just share with one person you think would be interested. That’s how this grows.

Ahead of the opening of Everybody Hates Exhibitions this Thursday, April 2, at 6 pm at LACP, I welcomed Ali LeRoi to Bytesize this week. This solo exhibition, curated by your truly, features his never-before-seen photographs captured behind the scenes of the iconic TV show, which recently marked its twentieth anniversary.

In this conversation, we discuss the experience of going back to those moments, two decades after the show debuted, and how the camera allowed LeRoi to both connect to the moment and position his own life story in relation to both the fictional narratives of the show and the real human relationships on set.

Ali LeRoi: Everybody Hates Exhibitions, opening April 2, 6-8pm, at LACP: lacphoto.org.

In this post, I suggested that the flux of images generated by AI creates a similar phenomenon that can be considered as Artshitification: a flood that keeps going at our expense, locking us into services we cannot not use. In this case, the platform was not downgraded after providing a trustworthy service, it was decayed and degraded from the get-go in order to attract as many users as possible, before protective guardrails were set around it. In that respect, the process of artshitification might be more rapid (and perhaps more massive) than enshitification.

I finally got to speak with Doctorow about this term and how he understands the condition (predicament?) of our current global and visual culture.

His new book, The Reverse Centaur’s Guide to Life After AI, explores life with AI further, and will be coming out in June. You can see more and pre-order here.

I have been following Penelope Umbrico’s work through her Suns from Sunsets on Flickr ongoing project, which she began in 2006. Accumulating images of people capturing themselves in front of sunsets on Flickr, Umbrico created a stunning collage of the sun’s vibrant colors at dusk, and while doing so, she captured our shifting understanding of participation in the world through digital images and the social rituals that were developing around them online.

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In 2025, we finally got to work together, as part of Reservoir: Loneliness, Photography and Well-Being which I organized at LACP (and shout-out to @Jennifer Pritchard, who helped develop the concept!). The program brought together nearly 40 artists from across the world, who were invited by mentors to work with them for a period of nine months and incubate new work about loneliness. The results of their extraordinary efforts will be shown in an exhibition at LACP, opening January 29, 2026, before traveling to other locations.

Under her guidance, Penelope’s cohort explored the meeting points of consumerism, technology and well-being, producing work that navigates our shared and strange lives with robots, landscapes that are re-defined by Amazon distribution centers, or how AI captures a thematic image of female aging.

During the first week of the new year, she and I got to have a conversation about her path, projects from recent years and how all of this connects to a beloved department store in Toronto.

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Working on research at NYU in the early 2000s, Røssaak had a front row seat to the shaping of Arcangel’s artistic milieu on the Lower East Side and its resonance across the art world during and after the first decade of the twenty-first century.

Røssaak and I also got to speak about archiving the web, his current research around archives and indigenous communities, as well as the impact of AI on scholarship shortly after he came back from launch events in New York.

A reminder:

Today, Monday, December 15, I will host Bytesize’s first Happy Monday – Portfolio and Work Share for paid subscribers.

You can upgrade your subscription:

Or gift a subscription:

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The feed is chronological, and the team rolls out updates after receiving community sourced feedback. New pro features will be added behind a paywall in the future, yet the free version will continue to be available for all. In addition, they began organizing events IRL, specifically, a global photowalk that took place in a number of cities.

I have been really interested in Foto’s model, which is devoid of ads, and the generous way in which Howard utilizes the Substack chat to garner feedback, suggestions and comments from actual Foto users. It feels sincere and, who knows, it might help shift how we orient ourselves online. In other words, Foto might carve out a space on social media that focuses on people as contributors and members rather than users.

Tune in to listen/hear us talk about Foto’s origin story, its mission, where it’s headed, and Howard’s thoughts on the conflicted meeting point between photographers and AI.

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On a very different note, last week I was honored to be invited by Orange County’s Community Scholar Program (CSP) to talk about Israeli photography in the wake of the assassination of Prime Minister Yitzhak Rabin, as we just marked three decades since the murder. I still perceive that day as a watershed moment in Israeli society, a moment of no return. I thought the confluence of tragic political circumstances, shifting media landscapes and the response of the local art world might be of interest for many of you, so here it is:

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It was so wonderful to think about community in such a generative way, and observe it as inseparable from creative practice. With that in mind, I thought this could be a positive way to start your week, so I hope you enjoy the watch. Would love to hear your thoughts in the comments and the chat (for paid subscribers).

Here are links to some of the awesome people, organizations and Substacks we mention:

* Kristine’s magazine, Art and Cake.

* Kristine’s Substack, Shoebox Arts.

* Galia Linn and Blue Roof Studios.

* Shana Nys Dambrot and HIJINX ARTS | 13 THINGS LA.

* Los Angeles Contemporary Exhibitions (LACE).

* Clockshop.

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Kristine is also incredibly generous with her knowledge and experience, as she is committed to nurture individuals and find ways to support creative communities.

Click on the video for a taste of our conversation about the need to change how we write art histories.

There’s much more (and many shoutouts to organizations and people we love snd admire in LA!) in the full interview that will be posted on Monday. I will also include resources Kristine mentioned and some of the beloved organizations we discussed. There might also be some nerding out about to-do lists, spreadsheets, and best practices. Be honest, who can resist some solid Excel talk?

Tune in Monday, and in the meantime, if you’re in LA, check out the seasonal Brewery Artwalk this weekend. Kristine, and many more local artists, will open their studio spaces for visitors and fun hangs across the 16-acre campus (October 25-26, 2025, 11am-6pm). More info here.

It was fascinating, controversial and, as he shares in our conversation, a career changing moment. I have been following his work ever since, watching his photo-based conceptual work grow and taking on new forms, often satirical and always visually striking. Mishka has an intuitive seismograph for shifts that are happening in and around photographic technologies and how we think about, experience and discuss them. He brings art histories to the present and considers the present through the lens of near and far futures.

As we grapple with the presence and the impact of AI specifically in creative fields and within visual culture, I wanted to hear more from him about his path and what lies ahead.

I would love to hear from you! Tell me in the comments if you would like to see more interviews and video-based features on Bytesize.

If you’ve been enjoying Bytesize, I’d love it if you considered becoming a free or paid subscriber. Founding and Paid Members help keep ByteSize independent and get access to things like one-on-one reviews, consults, and more to come.

Here’s a taste from my interview with the photo-based artist Mishka Henner, as we were discussing his 2011-2013 project, No Man’s Land, which was (and is!) controversial and thought provoking. As Mishka shares, he was motivated by a desire to re-define documentary photography in the age of satellite photography—that was suddenly available to all through Google services.

I have been following Mishka’s work for over a decade, and I am so thrilled to share it with all of you. Much more is coming. I would also love to hear from you - let me know if you would like to see more of these conversations in the comments!

If you’ve been enjoying Bytesize, I’d love it if you considered becoming a free or paid subscriber. Founding and Paid Members help keep ByteSize independent and get access to things like one-on-one reviews, consults, and more to come