Digital Arts Research Papers - Academia.edu (original) (raw)

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.

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- Communication, Interpersonal Communication, New Media, Digital Media

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

In this special issue, authors provide theories, practices, and examples of how the arts are wonderful tool to teach literacies to emergent bilingual students, families, and communities. It concludes with a chapter of multiple resources... more

- by Amanda Claudia Wager and +4
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- Performing Arts, Teaching English as a Second Language, Open Access, Arts Education

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

- by gregory sholette
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- Art Economics and Markets, Herbert Marcuse, Alternative Economies, Digital Arts
- by Sarey Quinn
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- Marketing, English Literature, Art History, Design
- by sue murray
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- Contemporary Art, Disability Theory, Digital Arts, Fine Arts

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

- by Adolfo Vasquez Rocca
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- Sociology, Political Sociology, Psychology, Cognitive Psychology
- by William J Simmons
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- Artificial Intelligence, Art History, Social Media, Women in Art

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.

- by Lars Christian Grabbe
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- Semiotics, Philosophy, Aesthetics, Visual Studies
- by Tula Giannini
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- Sociology, Cultural Studies, Media Sociology, Sociology of Culture
- by Kiel Long and +1
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- Human Computer Interaction, Brain-computer interfaces, Digital Arts
- by Susana Amante
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- Computer Science, Multilingualism, Storytelling, Teaching of Foreign Languages

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

- by Vid Simoniti
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- Aesthetics, New Media, Contemporary Art, Aesthetics and Politics
- by Leila Christine Nadir, PhD
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- Art History, Media Studies, New Media, Digital Humanities
- by Carolina Larrain
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- Latin American Studies, Film Studies, Digital Media, Digital Cinema
- by Tijen Tunali
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- Contemporary Art, History of Art, Digital Arts, Urban Art

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.

- by Giacomo Mercuriali
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- Aesthetics, Media Studies, Hyperreality, Philosophy of Photography
- by Nick Lambert
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- Digital Arts

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.

- by Cristina Voto
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- Contemporary Art, Video Art, Digital Arts, Biennials

Nell'ultimo secolo i progressi della tecnologia applicata alla biologia, alla robotica, alle neuroscienze so- no confluite nel paesaggio algoritmico, “liberando” spazi di ibridazione e contaminazione. Le nuove pratiche artistiche hanno rimesso in discussione alcuni assiomi storici, come il concetto di autorialità e di unicità dell’opera. Si apre un “futuro anteriore" di comunicazione, di connessione, sempre più pronto a consegnarci un immaginario collettivo capace di interpretare cambiamenti epocali. Le sperimentazio- ni tecnologiche hanno “attivato” nello sguardo caleidoscopio dell’arte un’azione performativa connet- tiva dove arte, vita e politica si integrano in una “battaglia” tra processi di democratizzazione della rete e dell’informazione, mediata da corpi “liberati”. Questa è una storia di tante storie possibili, dove la cu- ra assolve la sua funzione nella connessione fra media e vissuto amplificato dalla pratica artistica di un Nuovo Abitare per una cultura ecosistemica. Il corpo-dispositivo con tutte le sue possibilità si dissemina nella rete, reinventando il reale e la malattia e creando spazi “aumentati” per la critica, per l’espressione, per l’azione e per una “salvezza ubiqua”. La grande opportunità dell’esistenza è quella di esprimersi “po(i)eticamente” attraverso i dati per generare un dibattito esistenziale nella cultura.
In the last century the progress of technology applied to biology, robotics, neuroscience have flowed into the algorithmic landscape "freeing" spaces of hybridization and contamination. Multimedia arts and new artistic practices have called into question some historical axioms, such as the concept of authorship and uniqueness of the work. An "earlier future" of communication and connection is opening up, increasingly extended and ready to give us a collective imagination capable of interpreting epochal changes. Techno- logical art and its experiments have "activated" in the kaleidoscopic gaze of art a performative connective action where art, life and politics are integrated in a "battle" between democratization processes of the network and information and mediated by "liberated" bodies. This is a story of many possible stories, where care fulfills its function in the connection between media and experience amplified by the artistic practice of a New Living for an ecosystemic culture. The body-device with all its possibilities is disseminat- ed in the network, reinventing the real and the disease and creating "augmented" spaces for criticism, for expression, for action and for a "ubiquitous salvation". The great opportunity of existence is to express oneself "po(i)etically" through data to generate an existential debate in culture.

- by Giorgio Cipolletta and +3
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- Media and Cultural Studies, Performance Studies, Anthropology of the Body, Body Image
- by Rewa Wright
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- New Media, Media and Cultural Studies, Digital Media, Contemporary Art

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.

- by Martin Zeilinger
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- Media Studies, Intellectual Property, Copyright, Digital Arts

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.

- by LJ Radness
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- Information Technology, Epistemology, Design Theory, Digital Arts
- by Mylene Jankowski
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- Philosophy, Art History, Digital Humanities, Walter Benjamin

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

- by William Kist
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- Educational Technology, Multimedia Learning, Digital Arts, Multimodality

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.

- by Alice Atkinson-Bonasio
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- Photographs, Intellectual Property, Photography, Creativity

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.

- by Fiona Cameron
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- Digital Humanities, Museum Studies, Cultural Heritage, Digital Media

This paper reflects on the role of computation in speculative design. It suggests that found, unexpected traces of computational processes can amplify designers’ imagination. This theme is considered through a reflection on a practical workflow that pays close attention to the artifacts of algorithmically generated mesh geometries. The resulting interpretation of found artifacts as active participants in design processes is innovative in the field where computational objects (such as meshes) are typically thought of as neutral tools. Reconsideration of meshes as objects with agency can be extended to other computational entities, resulting in significant implications for design thinking and design craftsmanship.

- by Stanislav Roudavski and +1
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- Critical Theory, Philosophy, Ontology, Aesthetics

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... more

- by Isabel Valverde
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- Critical Theory, Emotion, Human Computer Interaction, Aesthetics
- by Patricia Gouveia
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- Game Theory, Game studies, Digital Media, Game Design

This article aims to respond to the lack of studies on the relationships between contemporary visual arts and VR, focusing on the role of "storytelling" and identifying what distinguishes VR art projects from other contemporary uses of VR, namely the criticism that they make of the VR medium itself. In the last five years, VR has developed a new language based on a specific visual grammar that has allowed for new forms of narration to arise. Visual artists have been attracted to VR in search of new modes of production and have exposed the negative impact of technology on our perception of reality, uncovering new mediated ways of seeing and distanced interaction with the world around us. The first part of the article will be dedicated to discussing Canadian artist Jon Rafman's View of Pariser Platz (2016) and American artist Jordan Wolfson's Real violence (2017), two of the first Oculus Rift-based art installations that developed a metalinguistic commentary on how VR, although promising immersion, produces, in fact, alienation, homogenization, brutalization and the loss of empathy. The article will continue with a discussion on the recent rise of tech companies that aim at producing contemporary artworks based on VR technology: Acute Art (London), Khora Contemporary (Copenhagen), and VIVE Arts (Taiwan). This is a new and expanding field that is changing the ontology of artmaking and redefining the artist's role, mainly in light of the cooperation with technicians and programmers.

- by Valentino Catricalà and +1
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- Media Studies, Virtual Reality (Computer Graphics), Augmented Reality, Storytelling

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.

- by James Richardson
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- New Media, Digital Humanities, Digital Media, Digital Culture

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.

- by Jeppe Ugelvig
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- Translation Studies, Digital Humanities, Architecture, Death

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.

- by Colin Coulson-Thomas
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- Entrepreneurship, Design, Creativity, Arts Education