Digital Arts

How are we to understand digital objects? How are we to relate ‘cyberspace’ to physical space? This chapter attempts to provide a set of theoretical tools to understand ‘spaces’ of online interaction and what happens within them without resorting to filamentous constructions of ‘disembodied’ online interaction or to the underlying idealistic Cartesian dualism that pervades many of the theoretical positions that ostensibly refute it. To do so, I make connections between cognitive processes of human subjectivity, the embodied, gestural enactments of physical social spaces, and the social interactions that take place in online environments. The crux of the argument is that like identity, meaning and subjectivity are social phenomena: individual cognition requires social interaction. Similarly, social interaction, mediated or immediate, defines our spaces of subjectivity. This connecting of online ‘spaces’ to embodied cognition may provide a way to understand digital objects and the online interactions they enable through a reconsideration of the concept of space.

Data Dating is a collection of ten academic essays accompanied by works of media art that provide a comprehensive insight into the construction of love and its practices in the time of digitally mediated relationships. The essays come from recognized researchers in the field of media and cultural studies.

INTRODUCTION
Introduction: Dating (the) Data and Other Intimacies
Ania Malinowska and Valentina Peri

1. WIRED LIMERENCE (feat. Deep Love by Antoine Schmitt)
Technology, Commerce and the Intimacy Revolution
Lauren Rosewarne

2. LOVE INFO-STRUCTURES (feat. Glaciers by Zach Gage)
Romance in a Time of Dark Data
Lee McKinnon

3. MEDIATED MATCHMAKING (feat. A Truly Magical Moment by Adam Basanta)
Fast Love. Temporalities of Digitized Togetherness
Ania Malinowska

4. EMOTIONS WITH THE MACHINE (feat. Ashley Madison Angels at Work by !Mediengruppe Bitnik)
‘Emotoys’: Ethics, Emotions and Empathic Technologies
Andrew McStay and Gilad Rosner

5. SELF-FASHIONING DESIRE (feat. Kill Your Darlings by Jeroen van Loon)
The Greatest Love of All: Recognition, Self-Love and the Imaging of Desire
Derek Conrad Murray

6. DIGITAL ONSCENITIES (feat. Peeping Tom (Porn Version) by Thomas Israel)
The New Onscenity. Navigating Digital Desires in the Twenty First Century Pornoscape
Lynn Comella

7. LIBIDINAL TECHNO-SCAPES (Webcam Venus by Addie Wagenknecht and Pablo Garcia)
The Proxemics of Digital Intimacy
Kyle Machulis

8. TOUCHLESS EMBRACES (feat. VR Hug by Tom Galle and Moises Sanabria)
Virtual Hugs and the Crises of Touch
David Parisi

9. SOUNDS OF FEELING (feat. Digital Synaesthetic E.E.G. Kiss by Karen Lancel and Hermen Maat)
I Can Hear Your Feelings
Andrew Blanton

10. INTERFACES OF EMOTIONAL SURVEILLANCE (feat. Face Messenger by Tom Galle and John Yuyi)
Timestamp Anxieties
Kristin Veel and Nanna Bonde Thylstrup

As relações entre comunicação e artes vêm se aproximando a cada dia, estabelecendo-se novos padrões e estudos acerca da convergência arte/comunicação permitindo, dessa forma, uma ampliação nos horizontes analíticos da cibercultura. A pesquisadora Margaret Morse destaca que: the "new" abilities of cyberculture (especially their "interactive" and "telematic" capacities), have radically altered our understanding of the function of images. Only a decade ago, under the scrutiny of a "politics of representation," an image was recognized as a discursive construction which conveys situated knowledges and powers. Today, images ferry not only a politics of meaning or place, but an ever-more-tangible "aspect of agency," in which the remote control of images (via telematics or telepresence) can be used to inflict immediate and potentially deadly change on the real world. An obvious case in point is the Gulf War, widely noted for the ways in which its mediation resembled a video game. What are the ethical costs of a war in which it is images, rather than flesh and blood people, which are the primary agents of destruction? What happens to a sense of social accountability or even humanness when telematic images allow one to be removed from the consequences of one's actions? (apud SEATON, 1999, p.2). Nesse sentido, a história da arte eletrônica no Brasil tem ramificações com o desenvolvimento de ciberculturas, originadas da convivência na rede de artistas, pesquisadores e internautas. Ma ainda é bastante difícil definir os limiares da arte eletrônica; A arte há muito deixou de ser uma atividade voltada apenas para o desenvolvimento da sensibilidade, o enleite, a provocação, a discussão de pontos de vistas, passando a integral o rol das atividades que podem significativamente atuar na cosnstrução de ciberculturas e, como se pretende discutir aqui, de inclusão digital, através de sua história e do manuseio de uma série de ferramentas que podem aproximar o indivíduo (adulto ou criança) dos mecanismos específicos da computação: É difícil definirmos o que é um computador, na medida em que ele pode tomar várias aparências. Temos vários equipamentos que permitem, entrada, cálculos, armazenamento e saída de informações. Mas nosso interesse é nessa possibilidade de montarmos sistemas com essa estrutura, criando as mais diferenciadas interfaces e programas

This op-ed style essay examines the wildly exaggerated claims made for Non-Fungible Tokens or NFT artworks. Above all, it questions the NFT's  peculiar reversal of digital media's inherent interchangeability by turning back to the centuries-old legacy of individual authorship and visionary private property. "NFT Fever: Is it Time for a Great Refusal 2.0?," was originally written for and published by the Portuguese cultural journal, Electra Magazine, and is hereby updated with some important corrections to the technical details. https://www.fundacaoedp.pt/en/content/electra-magazine

"Celebrating Communities" by Jennifer L. Keil, 1st VP

We celebrated the 50th anniversary of the Lawrence de Graff Center for Oral and Public History in May. It was an occasion to recognize the pioneering work of university historian Larry de Graff and Arthur A. Hansen. I had the opportunity to participate in the oral history panel that included former students, narrators, and project directors. The session was titled, “Talking Back: 50 Years of Oral History” followed by “Open History: Public Project Past and Future.” CSU Fullerton university president, Framroze Virjee, provided welcoming remarks at the Golleher Alumni House.

RESUMEN
La relación interna entre filosofía, literatura y arte permite examinar con propiedad qué significan la pluralidad y complejidad en los usos de la razón. Posibilita la aproximación a esos usos y figuras desde un ángulo privilegiado. El interés por lo literario y artístico no tendría por qué significar un apresurado abandono del modelo discursivo y analítico -que es característico de la filosofía-, sino más bien el acceso a un punto de vista más completo, un nuevo método reflexivo, otro límite crítico. Esta perspectiva facilita la puesta al día de las tesis modernas sobre la filosofía como emancipación, esto es, como su salida de la minoría de edad.
Espacios ficcionales, campos de proyección de la experiencia, métodos y perspectivas trasdisciplinarias constituyen los distintos niveles a través de los cuales se trata de definir un nexo complejo entre discursos. La ficción como conocimiento, subjetividad y texto, así como la relación entre mundo y lenguaje pretenden acotar algunas dimensiones de esa relación.
A través de la literatura llegamos a estar familiarizados con situaciones, sentimientos, formas de vida, obteniendo así una mirada desde dentro -epistemológicamente empática-. Cada nueva visión del mundo constituye un nuevo tipo de conocimiento, un conocimiento que puede incluir aspectos cognitivos y emotivos y que demandará, probablemente, algún tipo de lógica paraconsistente. De modo que a la par que por nuestras narrativas creamos o descubrimos mundos (dependiendo del estatuto ontológico otorgado a la ficción) también establecemos o desentrañamos la legislación lógica, según la cual tal curso de sucesos o tal tipo de entidades son o no admisibles al interior de este particular mundo posible.
Precisamente, es en la constante re-creación de sus objetos, práctica que surge en una comunidad de problemas -un espacio de representación colectiva- el espacio en que se da la ciencia. Es, precisamente, en una particular forma de hablar y de referirse a objetos, creándolos con el habla, el que funda a la medicina -por ejemplo- como cuerpo autónomo de conocimientos, vale decir como ciencia de primer orden. Las disciplinas, pues, en tanto discursos, están, literalmente, constituidas por él. Por ello es necesario estudiar el discurso científico en tanto que discurso, hay que reflexionar sobre sus orígenes y modo de constitución, hay que aceptar que no es sólo un producto sino una fuerza productiva. La realidad es una narrativa exitosa. Es aquello que se hace hablando. Las comunidades científicas son comunidades de problemas y, sobre todo, de retóricas, reconstrucciones de objetos que sólo existen en tanto se habla de ellos de una determinada manera,
Hasta los mundos narrativos más imposibles tienen como fondo lo que es posible en el mundo que concebimos como real. Las entidades y situaciones que no son explícitamente nombradas y descritas como diferentes del mundo real son entendidas a partir de las leyes que aplicamos a la comprensión del mundo real.
Así, pues, la narración de ficción construye un modelo análogo del universo real, una proyección...lo que permite conocer la estructura y los procesos internos de la realidad y manipularla cognitivamente. Se otorga así un valor cognoscitivo a la ficción, de modo tal que todas las posibles connotaciones, no expresadas directamente por el texto, sino -más bien- mostradas implícitamente o implicadas contextualmente en lo allí dicho, iluminan aspectos de la realidad que sin estas extrapolaciones ficcionales permanecerían en penumbras.
La perspectiva crítica -propia de la filosofía- puede hallarse así implícita en escritos de ficción, de la misma manera como las teorías filosóficas pueden aceptar como suyos a los argumentos procedentes del discurso literario. La reflexión filosófica se articula, pues, desde distintos ámbitos y modalidades discursivas.
Dr. Adolfo Vásquez Rocca

Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihren Usern. Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder Blockbuster muss in 3D gedreht werden. Entwicklungen wie diese verdeutlichen nicht nur den hohen Stellenwert, der sowohl der technologischen Seite als auch den ästhetischen Strategien visueller Medien zukommt. Sie werfen auch eine Reihe von Fragen auf: Wie adressieren multimodale Medienarrangements die Sinne der Rezipienten? Welche Rolle spielen Technologie und Wahrnehmung bei der Modellierung von Bildwirkungen? Um diese Fragen zu beantworten, legt der vorliegende Band den Fokus auf die Analyse medialer Interfaces. Konzentrierte sich die Bewegtbilder-Reihe bislang auf den Film, widmet sich Bild und Interface auch interaktiven Digital- und Computerspielbildern. Dadurch sollen weitere Bausteine einer kritischen Bewegtbildwissenschaft herausgearbeitet werden.

I compare the collaging technique in contemporary digital art and in alt-right videos. It is curious that these two forms, while standing for different political options, have a similarly relaxed attitude towards truth. I identify three regimes of "post-truth" possibly at work here: lies, bullshit and simulacra. I argue that a fourth regime, the sacrifice of truth, better captures what is going on in new alt-right propaganda.
This short catalogue essay was published in the catalogue of "Reality Machines: An Art Exhibition on Post-Truth", organized by Mara Polgovsky-Ezcurra at the University of Cambridge in 2018

Starting from a discussion of Chris Marker's "La Jetée" and Terry Gilliam's "12 Monkeys", I introduce the problem of the truth-value accredited to photographic images known as the documentary paradigm. I maintain that the mainstream philosophy of photography has been able to build and defend that paradigm via the ideological exclusion of an enormous amount of possible photographs. The recent achievements of automated generative imaging oblige a retrospective comparative analysis. This essay introduces two new concepts: "digigraphy" and "photosimile." I propose to name digigraphy those digital pictures produced by a computer without the need of an optical apparatus – still necessary for digital photography – and characterized by the steadiness of production (comparable to the "shot"), reproduction, and diffusion. The creation of a digigraph does not imply the operations of an expert; rather, digigraphy is deemed to become a medium even more accessible and widespread than digital photography. I introduce the concept of photosimile to identify those digigraphs, which are, for the human eye, indistinguishable from a photograph or a digital photograph. I continue forecasting a split into the human use of photographic images: on the one hand, the documentary value will remain crucial for the automated operations of machine vision such as data mining, management, and control. On the other, the communicative and expressive values of photographic images will survive into the new form of digigraphy.

L’obiettivo di questo testo è lo studio dell’edizione online della Bienal de la Imagen en Movimiento di Buenos Aires, una manifestazione artistica che ha visto sconvolta la propria attività durante la diffusione dell’epidemia da SARS- CoV-2. Sebbene una dimensione non in presenza coincida oggi sempre più frequentemente con la fruizione di opere d’arte, la diffusione online di biennali e mostre ha reso ancora più urgente la riflessione sulle forme espositive e sulle condizioni della spettatorialità. Nello specifico il testo analizza la piattaforma web progettata e curata per l’edizione online della Bienal de la Imagen en Movimiento: mirarnos a los ojos (volver a). Di fronte alla smaterializzazione del significante artistico imposto dall’emergenza sanitaria, la piattaforma costruisce una spazialità virtuale dove tornare a guardarsi negli occhi. Attraverso una riflessione sui meccanismi di interfacciamento e sulle possibilità di interazione offerte dai linguaggi digitali, mirarnos a los ojos (volver a) declina modalità comunicative tipiche dei mezzi di comunicazione con modalità comunicative tipiche dell’interazione faccia a faccia. Traduzione digitale delle interdipendenze emerse durante l’emergenza sanitaria, mirarnos a los ojos (volver a) è un progetto al quale hanno partecipato 70 artiste/i invitate/i a occupare una spazio-temporalità audiovisiva mappata da quattro coordinate cronotopiche con cui costruire una trama collettiva dell’esperienza del confinamento.

This paper explores recent efforts by cultural institution and private start­-up companies to engineer digital art markets
using cryptocurrency technologies in order to propertize digital artworks that were previously presumed to be
‘uncollectible’ and ‘unsellable.’ I argue that such developments are heavily suffused with neoliberal perspectives and
counteract media artists’ efforts to situate their work outside the cultural and economic logic of property­-based
exchange.
The ‘virtual,’ the ‘digital,’ and the ‘immaterial’ hold special significance with regard to media artists’ ability to shield
their creative practices from the circuits of property­-based art production and dissemination. Media art frequently
invents new digital contexts of creative expression that disrupt capitalist technologies of commodification and
monetization. But because digital culture also holds the potential of representing hugely profitable markets, digital art
practices are under constant threat of being assimilated or co­opted by digital capital.
Tying digital art works to cryptocurrency blockchain entries could render them as truly ‘unique’ digital artifacts – as
commoditized artworks with a clear, indisputable pedigree and 'provenance. Such efforts are purportedly guided by a desire to protect artists’ ownership rights. But in stemming the dynamism of inherently copyable, malleable, and recombinable digital artefacts, these efforts also share the economic agendas of our current, expansive intellectual property regimes. Discussing relevant commercial and critical projects driven by Ascribe.io, Rhizome.org, and Furtherfield.org, I argue that the regulation of digital art markets through cryptocurrency technologies fundamentally contradicts the dynamic nature of the digital and the ideals of openness that guide many media artists. The fencing-in of digital art in tightly controlled virtual marketplaces can serve only to undermine – not to embody – the ‘value' of the
works to which such technologies seek to attach themselves.

We review the unwillingness of artistic institutions to engage
with their audiences as mirrored in their incapacity to develop
meaningful alternatives to art access during the time of the
COVID-19 pandemic and its consequences. An analysis of the
pandemic offerings of some of the biggest museums in the world
will allow us to identify their perceived offerings and their
understanding of their function in society in contrast with their
own statements of purpose. As the cost of accessing any cultural
manifestation decreases, we turn from an economy of scarcity to
an economy of visual consumption where there is an abundance
of resources and attention is scarce. Art institutions and their
encircling dynamics of limitation become less interesting for the
public, and this results in the exclusion of art from the semantic
bubble of a great part of the population.

The multimodal autobiographical composition offers students a way to position themselves as authors and address the tensions of identity within school settings. S chools designated as STEM (science, technology, engineering, and mathematics) may be the educational reform du jour in the United States and globally. Arguably, this is one of the education issues of our times. According to the U.S. Department of Education (2007), 75% of the fastest growing occupations require significant science and mathematics training. Yet, there is a shortage of workers for these growing fields of employment. At the federal level, the plan to shore up the STEM pipeline is twofold: (1) to improve teacher quality through recruitment of new teachers in the STEM disciplines and to foster professional development for those teachers already in the field; and (2) to focus on engagement of students in STEM disciplines through innovative curriculum, partnerships between schools and industry, and recruitment of students into STEM specialty schools (U.S. Department of Education, 2007). Already, millions of federal, state, and corporate dollars have been invested in projects in the hope of bolstering U.S. students' STEM knowledge. Driven by a desire to develop knowledgeable students who will in turn be able to compete for global STEM industry jobs of the future, stakeholders in U.S. schools have rushed to devise and implement new STEM programs. Under debate and scrutiny are the issues of the nature of the STEM programs, the goals of STEM education, and the preparedness of teachers for STEM settings. So-called STEM settings are typically middle and high schools with a STEM focus, in which the entire curriculum is suffused with math and science applications. These are often termed magnet schools in that they are designed to draw those adolescents who are thinking about math-, technology-, or science-related careers. In a report commissioned by Microsoft Corporation on college students' perspectives on STEM education (Harris Interactive, 2011), approximately 78% of students reported that they had decided to study a STEM-related field before enrolling in college. Those college students who felt most prepared for college STEM courses cited having experience in challenging, college-preparatory high school courses. Students in these schools, of course, still need to take all required courses, including such non-STEM-focused courses as English, social studies, foreign language, and arts-related classes. We have wondered about these non-STEM classes that are located within these STEM settings and the preparation of teachers of English who might go to work in STEM schools. This is the kind of setting in which we found ourselves, three scholars of multimodal literacy. We, along with our preservice teachers (PSTs), were invited by the school administration to work with STEM students on a literacy project. We decided to engage students in creating a multimodal autobiography (MA) to immerse them

When entering modern society, we transform traditional social life with technical methods, disenchanting those illusion generated from mythology and religion since the pre-historic period. German sociologist and philosopher, Max Weber described the unrationalized mentality, which tends to consider those mysterious phenomena as part of life, as “the world remains a great enchanted garden.” Facing the sense of disenchantment within modernity, artists also follow the contemporary current and make use of digital technology to interpret those unseen illusions, dream, and fantasy through the process of data visualization. However, in the spectacle era when visuality takes full control, artists sophisticatedly manage the interactivity of digital media and the aim to create virtual space with imagery, grafting virtual limbs to the viewers’ bodies. In this sense, artists take visuality as the extension of human’s mind, perception, and body, and further enable the viewers to gain real perception. Baudrillard declared that our time has achieved the state of “hyperreal,” and the artistic practice of new media is exactly the way to reveal the reality and exceed the reality; it further simulates a kind of spatial reality with a new reality.

This exhibition takes a peek at the disenchanting ritual during the process of artistic creation of new media, leading viewers to step into the time and space simulated by artists to experience the new perception after their mind being extended. The aim of the exhibition is to tell apart virtual and real senses and to question the so-called “reality” within this context. New media artists try to achieve the state of disenchantment; yet, as enchanting the society, they twist the way we comprehend the world with a new reality.

The case of Bridgeman Art Library v. Corel Corp (1999) provides a useful prism through which we may analyse the application of copyright law in relation to concepts such as originality and the Public Domain. An extensive discussion of the minutiae of the case is beyond the scope of this study, particularly in view of the fact that many commentators such as Garnett (2000), Deazley (2001), and Matz (2000) have thoroughly dissected it in the past. This paper focuses instead on the long-term impact this ruling has had on industry practices, policy, the Public Domain and copyright law.

All students of digital design and production—whether learning in a classroom or on their own—need to understand the basic principles of design. These principles are often excluded from books that teach software. Foundations of Digital Art and Design reinvigorates software training by integrating design exercises into tutorials fusing design fundamentals and core Adobe Creative Cloud skills. The result is a comprehensive design learning experience.


This book is organized into six sections that focus on vector art, photography, image manipulation, typography, web design, and effective habits. Design topics and principles include: Bits, Dots, Lines, Shapes, Rule of Thirds, Zone System, Color Models, Collage, Appropriation, Gestalt, The Bauhaus Basic Course Approach, The Grid, Remix, Automation, and Revision.

The Future of Digital Data, Heritage and Curation critiques digital cultural heritage concepts and their application to data, developing new theories, curatorial practices and a more-than-human museology for a contemporary and future world. Presenting a diverse range of case examples from around the globe, Cameron offers a critical and philosophical reflection on the ways in which digital cultural heritage is currently framed as societal data worth passing on to future generations in two distinct forms: digitally born and digitizations. Demonstrating that most perceptions of digital cultural heritage are distinctly western in nature, the book also examines the complicity of such heritage in climate change, and environmental destruction and injustice. Going further still, the book theorizes the future of digital data, heritage, curation and the notion of the human in the context of the profusion of new types of societal data and production processes driven by the intensification of data economies and through the emergence of new technologies. In so doing, the book makes a case for the development of new types of heritage that comprise AI, automated systems, biological entities, infrastructures, minerals and chemicalsall of which have their own forms of agency, intelligence and cognition. The Future of Digital Data, Heritage and Curation is essential reading for academics and students engaged in the study of museums, archives, libraries, galleries, archaeology, cultural heritage management, information management, curatorial studies and digital humanities.

This document was written for a series of workshops with the intent that on reading and rereading this document it would be possible to understand the main issues surrounding the formulation of a workflow to address data output from digital cinematographic cameras.

L'expression "illusion de la vie" qui donne son titre à ce mémoire est empruntée à Frank Thomas et Ollie Johnston, auteurs de l'ouvrage The Illusion of life. Elle est fréquemment utilisée pour décrire le mode sur lequel les personnages d'animation opèrent. Les deux animateurs relatent dans ce livre leur expérience au sein des studios Disney et livrent l'idéologie au cœur de leurs productions. Cette dernière suppose qu'une animation doit restituer les mouvements d'un personnage de manière suffisamment crédible pour donner au spectateur le sentiment qu'il mène une existence autonome, et susciter en lui une forme d'émerveillement. Les personnages d'animation, selon cette mythologie, auraient une vie qui se poursuivrait en coulisses, commel'illustre pertinemment Who Framed Roger Rabbit ? (1988) dans lequel les personnages de cartoons cohabitent avec les humains et sont acteurs de leurs films.

Quant au qualificatif de virtuel, il ne fait pas exclusivement référence à sa nature numérique, il renvoie également au sens philosophique de ce terme. Le terme virtuel s'oppose à celui d'actuel, il s'agit d'une chose qui existe sans se manifester dans la réalité. Nous l'utilisons ici pour insister sur la condition à la fois immatérielle et fictionnelle du personnage numérique. Ce dernier-né de l'animation a connu un formidable essor, ce qui nous pousse à nous interroger sur les particularismes de son esthétique et de son champ d'action. En quoi l’outil numérique offre-t-il de nouvelles perspectives à la représentation de personnages animés?

Pour répondre à cette question, nous commencerons par nous familiariser avec les caractéristiques du personnage d'animation, sa nature et ses desseins, quelques soit la technique utilisée pour le matérialiser. Puis, nous concentrerons plus particulièrement notre attention sur l'image numérique, ses spécificités, et son retentissement sur le processus de création de personnages animés. Nous conduirons pour terminer le personnage à la rencontre du spectateur et réfléchirons à la manière dont leur interaction a pu faire émerger de nouvelles formes d'art.

This paper will discuss two student projects, which were developed during a hybrid course between art/design and computer sciences at Sabanci University; both of which involve the creation of three dimensionally embodied avatars whose visual attributes are determined by data feeds from “Real Life” sources.

In 1999 Frank Biocca's asked several questions on how the representation of the body in virtual environments might affect the mind states of avatar handlers: The effects of embodiment on the sensation of physical presence, social presence, and self-presence in virtual environments; and the effects of avatar representation on body image and body schema distortions. Today, with the wide spread usage of three dimensional online virtual worlds and the extended abilities to manipulate the visual representations of the inner persona, Biocca’s questions would appear to have acquired even greater urgency. While such efforts usually seem to be expected to work towards the concealment of identity and/or inner states of being; can a second approach, one involving revelations of the inner ‘self’ that may in fact go beyond what is available to our physical bodies also be contemplated? Can such ‘revelations’ bring about change, both in terms of human interaction but also in terms of self-perception?

Following up from Biocca's seminal text, The Cyborg’s Dilemma (Biocca, 1999), this paper will describe the creative and technological processes which went into the materialization of these two avatars.

AS VERDADES DOS DEEPFAKES O uso de inteligência artificial vem borrando as fronteiras entre a realidade e a ficção, tornando cada vez mais difícil verificar a legitimidade de fotos e vídeos. Enquanto ainda se debate a ética da manipulação digital, programas inventam imagens verossímeis, com consequências políticas e sociais imprevisíveis. Conhecidas como deepfakes, essas imagens vieram para ficar.

The Primcurator - Conservation of Digital Art in 3D
by Reiner Schneeberger, Planning a Retrospective of an Art Form, printed in MUSEUM AKTUELL, Munich, September 2011, p. 32-35.

It will be seen in the year 2035 whether the project to archive the first works of Avatarkunst published on the occasion of the reopening of the Kunsthalle Bremen this summer will keep its promise: to conserve walkable 3D-worlds in the way they have existed since 2005. ... Lots of links provided as footnotes

What is a body? In both cybernetic theory and philosophies of sexual difference, there is a common preconception of the body as a physical, stable, material entity. However, the heterogenous experiences of corporeity on cyberspace challenges such preconceptions in that bodies are found to exist in changing, malleable states, produces by processes of writing. In this essay, I propose a reading of Shu Lea Cheang’s web-art work Brandon (1998) and its recent restoration, combined with a critical analysis of philosophical writing on bodies and virtuality by Jacques Derrida and Elizabeth Grosz in order to demonstrate that how the malleable and unstable nature of cyberbodies may help us re-think such notions more generally. In doing so, I propose a reading of bodiliness or corporeity as always-already virtual, made up of local ‘artifactualities’ that produce local realities in and outside cyberspace. This, ultimately, allows us to
begin to re-think and re-define an ethics of the body through the internet, one premised on survival instead of a life/death dichotomy.

Our creative arts help to define our societies and our civilisation. Digital developments are democratising enjoyment of the arts and participation in the arts. The creative arts can address social issues, reach excluded groups, open-up creative, financial, entrepreneurial, active involvement, sustainability and other opportunities, break down barriers, widen perspectives, change expectations, bridge urban-rural divides and stimulate creative thinking, imagination and innovation. They can expose people to various physical/tangible expressions of individuals, movements and prevailing views from different ages, arenas and societies and encourage them to think, question and challenge. They can also enable people to produce designs, artefacts and other works that express their responses and views in a richer variety of ways than just the written or spoken word. An education in the creative arts can enhance, enable, enrich and empower. It can help to stimulate the exploration and commitment that can lead to responsible and fulfilling lifestyles and successful invention and entrepreneurship.