Digital Media Art

In this article, I explore the potential of AR (Augmented Reality) generated art forms, both in terms of the connectivity enabled by this technology and the staging of semi-artificial singular figures and avatars within selected installations and artworks. Viewed through the lens of SystemKollektiv, a group initiated by Ms Litto/Daniela Weiss and Jascha Ehrenreich, alongside individual works created by Ms Litto, key defining features of the emerging AR-based art forms will be delineated. First, a historical outlook on dance and art performance provides contour to contemporary AR-generated art practices. A pertinent example is the project No Ghost Just a Shell (1999-2002), initiated by Philippe Parreno and Pierre Huyghe. Consisting of twenty-five artworks created by over a dozen artists,

Predkladaný katalóg je ďalším pokračovaním každoročného súborného prehľadu najvýraznejších prác študentov a študentiek košickej Fakulty umení v konkrétnom školskom roku. Jedná sa prevažne o absolventské práce vo všetkých stupňoch vysokoškolského štúdia. V katalógu sa však objavujú aj semestrálne práce, ktoré napríklad zarezonovali na študentských výstavách či súťažiach. Ide o prierez tvorbou ateliérov troch katedier, ktoré uskutočňujú výuku v troch študijných programoch: architektúra a urbanizmus, dizajn a voľné výtvarné umenie. Z povahy tejto školskej tvorby vyplýva, že by mala byť vnímaná ako výraz spojenia empírie pedagóga a invencie študenta, alebo študentky. K samotnému výberu prác je potrebné poznamenať, že sa jedná o editorskú selekciu, ktorej meradlom neboli len školské hodnotenia. V plnej miere to platí o dielach z Katedry výtvarných umení a intermédií, v menšej miere to platí pre dizajnérske a architektonické práce, kde o ich kvalite nerozhodujú len umelecké kritériá. Pre predstavu o akú vzorku študentskej produkcie sa jedná, možno uviesť, že v školskom roku 2024 / 25 na fakulte študovalo 285 študentov a študentiek v troch stupňoch štúdia a v katalógu predkladáme práce 46 z nich. Študenti a študentky sú zoradení za sebou v abecednom poradí, so stručným popisom diel a katedry, resp. ateliéru v ktorom boli vytvorené. Katalóg obsahuje aj stručné anotácie diel a ich autormi sú rovnako študenti a študentky. Vznikol tak elementárny, ale zároveň ucelený a žánrovo pestrý obraz o stave súčasnej výtvarnej produkcie Fakulty umení Technickej univerzity v Košiciach. This catalogue presents an overview of the most exceptional artworks pro duced by the students of the Košice School of the Arts in this academic year. The great majority of these works were submitted as graduate projects and theses by students at all degree levels. The catalogue also includes term projects that resonated either at student exhibitions or in student contests, and, overall, provides a look at the artistic production of ateliers at three departments that offer instruction in three study programs: Architecture and Urbanism, Design, and the Fine Arts. The works should thus be per ceived as an articulation of the marriage of pedagogical empiricality and student inventiveness. As regards the selection of the works, it deserves mention that it was made with editorial intent and therefore was not based primarily on of the Department of Fine Arts and Intermedia, which the author of this editorial viewed from the perspective of an arts theorist and curator. To a lesser extent, it applies also to works of architecture and design, where the quality is not decided solely on artistic merits. To get a better idea as to what sample of student work this catalogue represents, it should suffice to say that in the year 2024 / 25, the Faculty had 285 students. This catalogue features the works of 46 of them. The students are arranged alphabetically and each profile is accompanied by a brief description of the works and the department or atelier at which they were produced. The catalog also contains brief annotations of works and their authors are also students. Thus emerged an elementary but rich and representative picture of the state of the current production of the Faculty of Arts at the Technical University of Košice.

3 artistic engagements seem a little less far-fetched. I hope to provide scaffolding for others interested in how Atlanta operates spatially and culturally, in the hopes that public interventions that transpire within the city may be done more humanely and with a broader palette of critical resources. But I also hope to encourage digital media design practice to see place as more than just a neutral backdrop for the installation of technologies. I endorse a philosophy of humility before urban spaces and wish to encourage a turn to take seriously the innumerable lives and histories invested in them.

Questo documento raccoglie una selezione di lavori realizzati negli ultimi vent'anni nell'ambito della ricerca artistica multimediale, della performance, della videoarte e dell'installazione interattiva. Le opere documentate sono espressione di un'indagine costante sulle relazioni tra corpo, tecnologia e percezione, e si muovono lungo una linea teorica che intreccia estetica della comunicazione, archetipi mitologici e sistemi di narrazione contemporanea, all'incrocio tra arti visive, teatro, loso a, ambienti interattivi e sound design. Le installazioni e le performance qui presentate sono state ospitate in musei, spazi urbani, teatri sperimentali e contesti espositivi Le installazioni e le performance qui presentate sono state ospitate in musei, spazi urbani, teatri sperimentali e contesti espositivi internazionali. L'approccio multimediale non è mai un ne in sé, ma una scelta linguistica necessaria per indagare l'instabilità dell'identità contemporanea, la natura reticolare del tempo e le trasformazioni del reale nell'epoca post-mediale. Attraverso l'uso di video in tempo reale, sistemi interattivi, Attraverso l'uso di video in tempo reale, sistemi interattivi, architetture sonore spazializzate, interfacce sensibili e materiali d'archivio, si creano spazi di percezione aumentata, in cui l'opera agisce come un organismo vivo in relazione con lo spettatore, il contesto e la memoria collettiva. Ogni lavoro è un atto di connessione: fra linguaggi, tempi, storie, individui. Presentato per la Rassegna Corposamente all'Almagià -ex magazzini dello zolfo di Ravenna -Anima-L è un'opera ibrida che attraversa i con ni tra teatro, videoarte e loso a. Nata come evoluzione di una performance sviluppata a Londra nel 2004 sempre con Bakalos ma il sound design affidato a Giacomo Por ri e Matteo Erenbourg (Alterazioni Video), l'opera si con gura come un viaggio immersivo nell'idea di anima come memoria incarnata e transito tra le vite. Al centro della scena, l'attore Yorgos Bakalos attraversa sicamente luce e ombra come a segnare il passaggio tra le dimensioni dell'essere. Il suo corpo è continuamente lmato e proiettato in tempo reale, sovrapposto a frammenti visivi -immagini, memorie, reincidenze -che trasformano lo schermo principale in un paesaggio interiore. Due performer, Carla Esperanza Tommasini e Fedra Boscaro, percorrono senza tregua lungo le navate laterali: corpi-eco, anime che non trovano quiete, anch'esse riprese e restituite su più schermi a comporre una molteplicità percettiva e temporale. Gli ambienti sonori oscillano tra l'organico e l'astratto. AL video live set di Fabio Venturi. Anima-L non è solo una performance ma un dispositivo loso co, una ri essione visiva e sensoriale sulla discontinuità dell'identità, sul con ne tra reale e immagine, tra vita e archiviazione. Nel 2011, la ricerca è proseguita sotto forma di videoinstallazione per la Biennale di Fotogra a di Alessandria, segnando un ritorno ai temi originari attraverso il linguaggio della videoarte.

The integration of Augmented Reality (AR) and Virtual Reality (VR) technologies is revolutionizing the entertainment industry, particularly in content creation, storytelling, and audience engagement. This research explores the transformative impact of AR and VR on entertainment production, emphasizing their potential to redefine traditional media consumption and production processes. AR enhances real-world experiences by overlaying digital elements, while VR offers fully immersive digital environments, both of which are reshaping how content is created, consumed, and experienced. Through secondary data analysis of academic journals, industry reports, and case studies, this study examines how AR and VR are being used in film production, gaming, live events, and marketing. The research reveals that these technologies offer new creative possibilities, enhance audience engagement, and create new revenue streams. However, challenges such as high development costs, technical limitations, and privacy concerns remain. The paper concludes by offering recommendations for content creators, technology developers, and industry stakeholders to leverage AR and VR for future growth while addressing existing challenges.

I AM AI, is the publication of the 27th anniversary of TNNUA Tainan National University of the Arts (Taiwan).  It includes photos and essays by visual artist Jorge Gonzales (Puerto Rico) and curator/producer/writer Sasha Dees, a summary of the residency, lectures, critiques, performance, and workshops they held together in November 2023 on invitation by the University as part of the university’s program I AM AI.

This paper explores the transformation of non-digital artworks through hybrid exhibition practices, with a focus on Nam June Paik's pioneering concepts and their resonance in contemporary digital curation. It examines Paik's Symphony for 20 Rooms (1961), an unexecuted, instruction-based installation, as a framework for analyzing the integration of temporality, spatiality, and audience interaction in hybrid exhibitions. Drawing parallels between Paik's vision and the evolving role of digital tools in exhibition design, the study traces the history of hybrid practices, from early net.art shows to complex, computergenerated spaces. Central to this research is the development of a typology for hybrid exhibitions, mapping over 200 cases to categorize their organizational, technical, and experiential dimensions. This typology bridges physical and digital realms, redefining curatorial strategies and audience engagement. Through case studies, such as MIX-m (2005), and an analysis of the influence of information technology on curatorial spaces, the paper addresses the challenges and opportunities of integrating non-digital works into hybrid formats. Anchored by the Paik Replayed research project, the paper positions Paik's foresight within the broader context of digital curation, proposing innovative approaches to hybrid exhibitions that honor his legacy while embracing the transformative potential of contemporary media.

In the past five decades, Media Art has evolved into a critical field
at the intersection of art, science and technology, however, a
significant loss threatens this art form due to rapid technological
obsolescence and static documentation strategies. This talk will
give an outline for research, documentation and preservation of
digital art by: a) developing international archive-research
infrastructures, similar to those already available in the natural
sciences, b) contributing to the development of infrastructures
with museums, which are interested in bringing the art of our time
into their collections through concerted networks of scholarly and
mostly technological expertise. In this way relatively small units,
museums, can also deal with the very demanding challenge. The
Archive of Digital Art (ADA) www.digitalartarchive.at addresses
these issues through an innovative strategy of ‘collaborative
archiving’, social Web 2.0, 3.0 features foster the engagement of
the international Media Art community, web 3.0 elements are
integrated through a ‘bridging thesaurus’ linking the extended
documentation of ADA with other ‘traditional’ art history
databases to facilitate interdisciplinary and trans-historical
comparative analyses. ADA informs a needed concerted museum
network, to collect, exhibit and preserve digital art forms.

) este unul dintre cei mai faimoși specialiști în neuroștiințe din Germania, foarte implicat în dezbaterile despre teh no lo gie și educație. A studiat medicina, psihologia și filozofia la Uni versi tatea din Freiburg, iar în prezent este profesor de psihiatrie la Universitatea din Ulm, unde conduce din 1997 Clinica psihiatrică universitară și din 2004 Centrul pentru neuroștiințe și învățare. A fost de două ori profesor invitat la Universitatea Harvard. Este gazda emisiunii TV săptămânale Geist und Gehirn (Minte și creier), în care prezintă unui public larg rezultatele cercetărilor sale în domeniul neuroștiințelor. A publicat numeroase cărți, dintre care Lernen (Învățarea), Vorsicht Bildschirm! (Atenție, ecran!) și volumul de față, Digitale Demenz, au devenit bestselleruri.

In the 1950s, the (North-) Americans Hiller and Isaacson pioneered computer-generated music: 'Illiac Suite'. Despite advancements in artificial intelligence (AI) systems, current music generation through machines still employs the paradigm established by Hiller and Isaacson (Steels, 2021). Concurrently, emergent research on human-machine cocreation is reshaping the creative industries, enabling computers to contribute to music, art, and cultural production in ways that were previously unimaginable. Computers now create (make) music, art, and culture with potential for consumption (COMITÊ GESTOR DA INTERNET NO BRASIL, 2022). These transformations may alter music in epistemological and even ontological terms, restructuring the role of the composer. Computer science researchers and those from other technological fields have sought foundations in the humanities, particularly in art-based research, to underpin their studies . In this regard, there is an urgent need for research stemming from the academic field of music to establish a balanced dialogue with the field of computer science and other technologies.

This paper introduces Post-Linguistic NFTs as a form of ethical and artistic resistance to the forces of global capitalism and cultural imperialism. Departing from the commodified logic of mainstream NFT culture, Post-Linguistic NFTs are not speculative assets but inscriptions of lived virtues-such as patience, dignity, generosity, and inner coherence. Drawing from the theory of Post-Linguistic Thought and the condition of Mental Entropy, I argue for a reappropriation of blockchain not as a market tool but as a medium for preserving human integrity. In a digital age marked by algorithmic control and semantic decay, these NFTs refuse to function as content. They instead embody a form of moral persistence that challenges the dominant systems of control and homogenization .

O 23º Encontro Internacional de Arte e Tecnologia e a Exposição EmMeio#16 são eventos de grande relevância no campo da arte, ciência, tecnologia e inovação no Brasil e no exterior. São os mais antigos eventos acadêmicos do Brasil, de pesquisa laboratorial de diferentes universidades brasileiras, que anualmente encaminham seus trabalhos para discussão e participação nas exposições. Eles oferecem um ambiente propício para a interseção entre diversas disciplinas, da ciência, tecnologia e arte e a exploração de novas fronteiras de conhecimento. Esses eventos promovem a integração de disciplinas, reunindo pesquisadores, artistas, cientistas, tecnólogos e inovadores de diversas áreas. Essa interdisciplinaridade estimula a colaboração e o diálogo entre campos do conhecimento que normalmente operam de forma independente, resultando em novas perspectivas e abordagens para questões artísticas e tecnológicas. Na edição de 2024, considerando os diversos termos que foram cunhados para descrever a complexidade das crises contemporâneas, como o Antropoceno (Crutzen, Stoermer), Cthuluceno (Haraway), Capitoloceno (Moore), Piroceno (Steven Pyne) e Plantationoceno (Tsing), torna-se evidente que enfrentamos um cenário de crises abrangentes, que incluem dimensões sociais, políticas, econômicas, humanitárias e, acima de tudo, climáticas. Diante desse panorama multifacetado, surge a possibilidade de propor o termo 'EcoTecnoCeno' como uma abordagem artística, para o 23º Encontro Internacional de Arte e Tecnologia e para a Exposição EmMeio#16. Um termo que poderia ser considerado uma esperança em relação aos conceitos mencionados, que, muitas vezes, se referem a impactos humanos negativos na Terra e nas comunidades naturais, seria algo como EcoTecnoCeno. Esse termo sugeriria uma era ou período em que a humanidade está em harmonia com a natureza, adotando práticas, como as artísticas, e sistemas que promovem a saúde do planeta e das comunidades naturais, em vez de prejudicá-las. EcoTecnoCeno é um termo que poderia ser interpretado como uma era ou período em que a humanidade está buscando soluções tecnológicas ecológicas para enfrentar os desafios ambientais e sociais por meio da poética artística, nele incluído. Venha fazer parte desse evento! Expo EmMeio #16

Bu kitap, yaşamımızın her alanını etkileyen Yapay Zekâ (YZ) uygulamalarının hızla yayılmasıyla birlikte kritik bir beceri/uzmanlık hâline gelen prompt mühendisliği konusunda kapsamlı bir eğitim içeriği sunmaktadır. Dönemimizin en dönüştürücü teknolojilerinden biri olan yapay zekânın ilerlemesiyle, YZ sistemlerini kullanma konusunda uzmanlığa olan talep önemli ölçüde artmıştır ve bu kitap, başlangıç düzeyinden uzmanlık düzeyine kadar her seviyedeki bu talebi karşılamaktadır.
Bu kitap; geleneksel bir mühendislik ders kitabı değil, hem kişisel hem de profesyonel yetkinlikleri artırmayı amaçlayan benzersiz bir rehberdir. Prompt mühendisliği; bilgisayar bilimi, yazılım mühendisliği veya yapay zekâ mühendisliğinde uzmanlaşmaya ihtiyaç duymayan, bu alanlardan farklı bir mühendisliktir. Zira yapay zekânın üretken gücünden yararlanmayı öğrenmek teknik veya mühendislik geçmişi gerektirmez.
Nasıl ki araba kullanmak bir otomotiv mühendisi veya tamirci olmayı gerektirmiyorsa yapay zekâ uygulamalarında ustalaşmak da derin teknik uzmanlık gerektirmez. Bu kitap, YZ kullanıcılarına yapay zekâ dünyasında güvenli, etkili ve verimli bir şekilde gezinmelerini sağlayacak temel ve ileri “sürücü ehliyeti” eğitimi sunar.
Sadece teknik bir araç olmanın ötesinde bu kitap, YZ dünyasına nasıl adım atılacağı, nasıl yönlendirileceği ve bu devrim niteliğindeki teknolojiden en iyi şekilde nasıl yararlanılacağı konusunda bir rehber niteliğindedir. Hem meraklı öğrenenler hem de eğitmenler için vazgeçilmez bir kaynaktır.

Vilém Flusser, češko-brazilski filozof, književnik i novinar, obično se smatra jedim od najznačajnijih teoretičara medija druge polovice dvadesetog stoljeća. Referirajući se na njegovo djelo Filozofija fotografije. Uvod (njem. Für eine Philosophie der Fotografie, 1983.), u ovom radu govorit će se o (I) filozofsko-fotografskom negativu (tj. širem kontekstu javljanja potrebe za filozofskim promišljanjem fotografije), (II) filozofsko-fotografskom pozitivu (tj. konstituiranju filozofije fotografije kao nove filozofske discipline) i (III) filozofsko-fotografskoj ekspoziciji (tj. temeljnim pojmovima i njihovim
definicijama (tj. značenjima), koji bacaju jedno novo svjetlo kako na razumijevanje Flusserove filozofije fotografije, tako i na mogućnosti i granice filozofskog promišljanja fotografije uopće). Pored kritičkog tumačenja refleksija koje nerijetko zalaze s »druge strane fotoaparata«, cilj je rada ponuditi kratki pregled osnovnih pretpostavki i glavnih pojmova filozofije fotografije Viléma Flussera.

Natural and Digital Landscapes in the Actions of Kollektivnye Dejstvija. The present article examines the aesthetic evolution of liminal spaces in the actions of the Moscow Conceptualist group Kollektivnye Dejstvija (Collective Actions), analysing them as material semiotic borders between different communicative domains. The initial Soviet phase of the group began in 1976, while in 1989 the collective broke up. In 1995, some of its members reunited under the name [KD], and they have remained active since then. The aim of the group is to understand the nature of art beyond any socio-political conditioning. Each of the actions involves the staging of a minimalist performance, attended by a group of selected spectators-participants; most of these events are enacted outdoors, with the Kievogorskoe pole-an untilled field on the outskirts of Moscow bordered by woodsrepresenting the main setting in the Soviet phase. Since 1980, the group's actions have been archived through the samizdat project Poezdki za gorod (Trips out of Town), of which fifteen volumes have been produced to date. Marginal spaces prove to be particularly significant in the aesthetics of Kollektivnye Dejstvija, as their transcendence allows the artists and spectators-participants to access new theoretical and perceptual conceptualizations of reality. At the same time, semiotic borders appear as material sites where meaning is interpreted and creatively produced through sensorial dialogues with the artistic environment. While in the group's initial phase the liminal zone is often represented by the woods separating the field of action from the ideologized urban area, since the late Eighties several digital devices have been used to amplify human possibilities of transcending conventional perception modes in the field of art. In my study, the material significance of semiotic borders in Kollektivnye Dejstvija's actions is investigated through the theoretical frameworks of Timo Maran's ecosemiotics and Giuliana Bruno's research on projection in digital art.

This roundtable discussion, featured in Artichoke 21, brings together curators, educators, and designers based in Dakar, Mendrisio, Providence, and Hong Kong to explore how creative practices are evolving in decentralized cultural environments. Delphine Buysse and Ndeye Filly Gueye, both curators at RAW Material Company (Dakar), contribute insights into how postcolonial, Pan-African, and decolonial frameworks shape contemporary art in Senegal and beyond. At the heart of the Dakar-based RAW Material Company lies a commitment to redefining curatorial and institutional practices from within African contexts, challenging inherited models of cultural production shaped by colonial and postcolonial state ideologies. As Delphine Buysse explains, RAW was founded as a response to the limitations of public cultural institutions and the “diplomatic version of art” promoted under Léopold Sedar Senghor. Rather than perpetuating official narratives, RAW aimed to cultivate a critical, open space for rethinking artistic agency on the continent. According to Buysse, RAW offers “alternatives to what had become the heritage of Senghor’s diplomatic version of art,” by promoting new forms of creation anchored in local experiences and transnational dialogue. Buysse highlights RAW's practice of constant institutional self-questioning as both a strategy of renewal and a form of resistance to external injunctions. She describes the RAW Académie, for instance, as an experiment born from a pause in programming—a time taken to rethink not only the content but also the form and ethics of cultural transmission. This ethos of interruption and recalibration, rooted in local conditions and needs, underpins RAW’s refusal to conform to Western models of legitimacy. It positions the institution not on the margins of global culture but as a generator of its own frameworks, advancing endogenous practices and solidarities across the Global South. Ndeye Filly Gueye, also a curator at RAW, complements this view by emphasizing the fluidity of Senegalese cultural identity, shaped by oral traditions, historical layering, and shifting modes of belonging. For her, RAW’s mission involves reclaiming historical and cultural narratives from within, without awaiting validation from global institutions. She stresses the importance of redefining success in creative practice through context-specific criteria, rooted in social diversity, intergenerational transmission, and political awareness. Artistic agency, in this view, is inseparable from the capacity to inhabit and transform the narratives that define one’s cultural presence. Together, their contributions advocate for a decentered, relational, and context-based understanding of artistic agency. Rather than seeking validation through inclusion in dominant global circuits, they emphasize endogenous creativity, translocal solidarities, and the building of alternative infrastructures of knowledge. This redefinition of artistic success destabilizes the urban-centric mythologies of cultural innovation and positions decentralized geographies as sites of critical experimentation and epistemic rupture.

This paper introduces a scientifically grounded framework for transforming intellectual property (IP) portfolios into tokenised digital assets, enabling innovators to unlock liquidity, attract investment, and reflect intangible value on balance sheets. Traditional IP valuation methods—though vital for assessing potential market utility—fail to capture the monetisable potential of such assets in real-time financial systems. By integrating traditional valuation, mathematical modelling, and blockchain-based tokenisation, the proposed model enables the conversion of IP into programmable, tradeable digital instruments. This process not only facilitates decentralised capitalisation but also allows IP to function as a dynamic economic asset in both corporate and startup ecosystems. Drawing on academic literature from economics, intellectual property, and blockchain domains, the paper presents a structured methodology while addressing legal, strategic, and operational implications. The result is a novel system for intangible asset management that bridges the gap between innovation and finance in the digital age.

For decades, Digital Art has encountered resistance within the contemporary art world, sidelined in this way by the main narrative of art history. This paper investigates the origins of this marginalization, probing whether it stems from difficulties in reconciling art with technology or institutional barriers that impact its exhibition, collection, sale, and preservation. The first part delves into Digital Art's distinctive ontological traits contrasting them with traditional art forms. It explores how artists act as programmers and their artworks as programmable entities, challenging established museum practices due to their medium-specific complexities in maintenance and acceptance. The second part shifts focus to recent developments from the 2010s onwards, emphasizing the growing integration of Digital Art into the art market. Galleries and festivals adapted to museum standards, recognizing Digital Art as a viable investment. This section delves into how these adaptations have fostered broader acceptance among collectors, curators, and gallerists, signaling a significant evolution in the commercialization and legitimization of digital artworks. In the third part, the paper explores NFTs (Non-Fungible Tokens) comprehensively, examining their profound impact on the contemporary art world and their implications for the future of Digital Art. It analyzes how NFTs facilitate the sale and promotion of digital artworks, while also addressing the broader challenges and implications they present to artists and institutional frameworks.

Alexander (2020) emphasizes that the concepts of "art", "artist" and "work of art" are not only in Fine Arts but also in popular culture. In the literature, it can be said that the concepts of "art", "artist" and "work of art" are sometimes confused, thinking that they belong more to popular culture. Accordingly, among the wrong concepts used in popular culture, the concept of "artist" is used in the sense of "most liked, preferred". However, popularity is used in the sense of "belonging to the people" . According to Sakallı (2014), the term "popular" is now used in the sense of "loved by the people" instead of the term "belonging to the people" (p. 307). Therefore, the terms "art", "artist" and "work of art" used in popular culture were used in the sense of "most preferred, most liked" during the period in which they were used. The concept of "popular artist" used among people can be used as an example of this. According to Ülker (2010), these concepts gain meaning according to the characteristics of the society in which they live. Accordingly, the meanings of concepts vary from society to society. According to Soylu and Memişoğlu (2020), in general, the methods and techniques used in education have an important place in concept teaching. states that, according to the literature, using student-centered studies in concept teaching facilitates learning. When studies on the concepts of "art", "artist" and "work of art" are examined, the reasons for the different perceptions of students and misconceptions are also mentioned. defines misconceptions as scientifically incorrect and individuals attributing meaning to concepts from their perspectives. Dereli (2015) defines misconceptions as individuals who attribute meaning to concepts through their beliefs and experiences and accept wrong concepts as true. suggest that misconceptions about art stem from a lack of education on this subject, and that the public should be educated to prevent a negative view of art and artists. , who conducted a metaphor study on the concept of "art", stated that the perceptions of the students of the Faculty of Fine Arts and Design regarding the concept of "art" differed according to the departments they studied. In another study, Hamarta et al. ( ) examined the perceptions of specially gifted students regarding the concept of "work of art" through metaphor. In their study, they stated that the students associated this concept more with originality, painting, and making people feel good. This is an indication that the education students receive affects their perceptions of art. Hiçyılmaz and Adanır (2019) examined the perceptions of preschool and classroom teachers who received art education regarding the concept of "art" through metaphor and concluded that the teachers saw this concept as creativity, freedom, self-expression, and a part of life. Çetin and Taşdemir (2022) stated in their study that when preschool children hear the concept of "artist", they generally think of a painting artist according to their gender; therefore, they suggested that children should study different

O artigo explora os desafios dos museus ao integrar a arte da performance em suas coleções, uma vez que são espaços que tradicionalmente estão focados nas características materiais das obras. Algumas linguagens artísticas, como a performance, provocam reformulações de práticas e de teorias, bem como de processos institucionais, contribuindo para que profissionais e demais pesquisadores (re) considerem os modos de preservação, pesquisa e comunicação. Neste sentido, obras de arte podem contribuir para a criação de novos modos de documentar e apresentá-las ao público, envolvendo o desenvolvimento de protocolos de preservação. Assim, a partir de pesquisa bibliográfica e pesquisa documental com abordagem exploratória, o texto dedica-se ao projeto Performance at Tate: Into the Space of Art, investigando a presença da performance na Tate e analisando três obras abordadas no projeto para entender como performances influenciam a documentação, os processos institucionais, especialmente, o desenvolvimento de protocolos de preservação.

Technology has impacted various sectors, and the field of art and design has witnessed notable changes due to these developments. In today's world, digital art illustration has emerged as a prominent and popular form of artistic expression, revolutionizing graphic design, and visual communication, particularly with the rise of technological advancements such as artificial intelligence (AI). This study seeks to explore the development of digital art illustration in Zimbabwe through the lens of the technology acceptance framework. The study focused on artists, lecturers, and students familiar with both traditional art and new technologies. Data were collected through two focus group discussions with students from two higher education institutions. In addition, five lecturers and five practicing artists were purposively selected for in-depth interviews, based on their experience in digital art and their background in traditional art. The data were analyzed using thematic analysis. The findings revealed that digital art has not yet been fully integrated into the art and design curriculum. The study also highlights the critical role of early art and design education in fostering student interest in digital art illustration. Furthermore, digital art illustration can be viewed as an extension of traditional art; therefore, artists should find ways to embrace both forms to their advantage. This integration can be promoted through blended exhibitions, with support from established galleries. For the design field, the study emphasizes the impact of AI and suggests how various stakeholders can incorporate it into their practices to enhance success. The study concludes that investment in technological infrastructure by the government can help promote digital art illustration as a burgeoning sector, creating new job opportunities for the younger, technology-savvy generation.

Fur eine naturliche Mensch-Maschine Interaktion spielt die Interpretation visueller Informationen eine zentrale Rolle. Fehlende Kontrolle der Umgebungsbedingungen wie Helligkeit und Hintergrundfarbe stellt hohe Anforderungen an die Bilderkennungssoftware. SIPBILD schafft es, mit modellbasierter Bildinterpretation die menschliche Mimik und Gestik zu erkennen. Um diese Technik in naturlichen Umgebungen einzusetzen, ist es allerdings notwendig, die bisherigen Techniken entscheidend zu verbessern. Insbesondere stellen wir eine Vorgehensweise vor, die robustes Model-Fitting ohne spezielles Fachwissen in der Bildverarbeitung erreicht und der Einsatz dieser Technik somit keinen Experten mehr verlangt.

is cosponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group. 2020 marks the 30 th anniversary of EVA London, which was first held at Imperial College London in 1990. Of course, this is a difficult time for all conferences, with the coronavirus pandemic. The EVA London 2020 Conference was originally planned for 6-10 July 2020. This has been delayed with planned dates of 16-20 November 2020 for an entirely online event. However we have decided to go ahead with publishing the 2020 proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form. Details of hardcopy publication dates and conference updates will be found on the EVA London website. Over recent decades, the EVA London Conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdom's most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse set of interests, with a specialised focus on visualisation. The long and short papers in this volume cover varied topics concerning the arts, visualisations, and IT, including 3D graphics, animation, artificial intelligence, creativity, culture, design, digital art, ethics, heritage, literature, museums, music, philosophy, politics, publishing, social media, and virtual reality, as well as other related interdisciplinary areas. The EVA London 2020 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the fifth year, the EVA London Symposium, with invited contributors. This year for the conference in July, a number of associated evening events were planned, on Women in the Digital Arts, a 30th birthday celebration for EVA, and Lumen Art Prize long list announcements. We plan to include what we can either in November or at EVA London 2021. A feature of EVA London, started in 2018, has been a Research in Education Day, immediately after the main conference, bringing together students and associated staff from universities in the London area to enable presentations and networking. In the circumstances, we now aim to hold this in conjunction with EVA London 2021. As in previous years, there are Research Workshop contributions in this proceedings, aimed at encouraging participation by postgraduate students and early career artists. The Research Workshop contributors are offered bursaries to aid participation. In particular, EVA London is again liaising with Art in FLUX, a London-based group of digital artists. The EVA London 2020 proceedings includes long papers and short "poster" papers from international researchers inside and outside academia, from graduate artists, PhD students, industry professionals, established scholars, and senior researchers, who value EVA London for its interdisciplinary community. The conference also features keynote talks in normal times. This publication has resulted from a selective peer review process, fitting as many excellent submissions as possible into the proceedings. This year, submission numbers were similar to the high numbers in the previous three years, with an excellent standard overall. It is pleasing to have so many good proposals from which to select the papers that have been included.

The Internet, initially celebrated as a bastion of freedom and openness, is increasingly becoming a domain of control, surveillance, and regulation by both states and private entities. The rise of state control and regulation of the Internet, along with the private sector's expanding control over information, poses significant challenges to the ideals of freedom and openness that once defined the Internet. This article examines the transformation in Internet governance from a state of minimal regulation to a heavily controlled environment by both governments and corporations and explores how the blockchain technology and decentralised architecture underlying Web3 promise to redefine Internet governance and resist censorship. Through a mixed-method approach that synthesises insights from computer science, political science, and legal studies, the paper argues that public blockchains challenge Internet Corporation for Assigned Names and Numbers' (ICANN) traditional control over DNS and significantly reduce the ability of centralised entities to exert control over content and communication, thereby enhancing freedom of expression and resisting censorship. The ability of Web3 to fully realise this potential is, however, dependent on overcoming complex technical and regulatory challenges.

Der Videoessay 'The Powerless Source of All Power' (2018) des international mehrfach ausgezeichneten Prager Künstlers Zbyněk Baladrán (*1973) ist unter mindestens zwei Gesichtspunkten besonders geeignet, um die "Grenzen der Künste im digitalen Zeitalter" näher zu beleuchten. Auf der einen Seite ist der künstlerische Videoessay ein Musterbeispiel für eine neue mediale Kunstform, die auf der digital ermöglichten Überschreitung und Mischung der ursprünglich getrennten Kunstarten beruht. Auf der anderen Seite ist die Medienkunst ein in der Literaturwissenschaft bislang wenig beachtetes Genre, in welchem neuere Entwicklungen rund um die Themen KI und Kunst reflektiert werden. Beides findet in dem Videoessay von Baladrán zusammen. Der Prämisse folgend, dass die Form auch den Gehalt eines Kunstwerks bestimmt, wird dieses Kunstwerk nachfolgend unter diesen beiden Blickwinkeln analysiert: Als Mischform der Kunstarten (Kapitel 1) und als Reflexionsmedium von Künstlicher Intelligenz (Kapitel 2).

Gabriella De Marco propone una riflessione sull'immaginario urbano contemporaneo, e in particolare, sulla città di Roma. Ciò partire dalla restituzione al pubblico e alla cittadinanza, della Forma Urbis allestita nel Museo, sito nel Parco Archeologico del Celio, dedicato alla pianta marmorea dell'età di Settimio Severo. Un panorama unico, oggi, del paesaggio urbano di quel tempo e uno dei più rari documenti, secondo gli archeologici, che l'antichità romana ci abbia restituito che sollecita, nell' incontro tra l'antico e la contemporaneità, nuove mappe immaginifiche. Nuovi percorsi storici e mentali fondati sul rapporto tra archeologia e città contemporanea osservati attraverso il fluire del tempo. Il saggio è in coerenza, e in continuità, con studi precedenti dell'autrice centrati sulle trasformazioni urbanistiche, anche imponenti, che configurarono il nuovo volto dell'Urbe avviate dall'Unità d'Italia sino agli anni della seconda guerra mondiale. Contributi disponibili nella banca dati dell'Ateneo di Palermo IRIS (https://iris.unipa.

The  article explores how blockchain technology and NFT-based
virtual fashion challenge traditional concepts of identity and self-representation. His­torically, legal systems have governed the integration of the mental and physical self into institutional frameworks. However, with blockchain and its Lex Cryptographia, individuals can shape their virtual identity autonomously. The study questions whether NFTs truly empower individuals or simply introduce new forms of institutional control. Ultimately, blockchain also exposes legal gaps and limitations, particularly in the representation of the self and the physical body in virtual spaces.

The journal NAVIGATIONEN is published by Prof. Dr. Jens Schröter (together with Prof. Dr. Benjamin Beil, Cologne).

The current issue, edited by Johannes Bennke and Mirjam Schaub has the topic »Media Cultures of Value«

Values don’t just fall from the sky. They are shaped by media, infrastructure, and social practices. With new protocols and media objects—such as smart contracts, cryptocurrencies, and NFTs—Web3 not only extends platform capitalism but also redefines value, labor, and community. While these technologies reinforce proprietary markets and corporate governance structures, they simultaneously open up alternative new ways of organizing life, challenging traditional economic and social models. This issue builds on the hybrid workshop “Digital Biedermeier—or Radical Democratic Utopia? NFTs as Interfaces of Cryptocurrencies”, organized by Johannes Bennke at the Humboldt University Berlin and Mirjam Schaub at University of Applied Sciences (HAW) Hamburg in October 2023. The issue brings together eight contributions by media scholars, artists, and curators who examine different media cultures of value—exploring protocols, infrastructures, labor, NFTs, art, and political stakes of Web3 governance.

Short reviews of articles about net art and net conditions (published on the net without paywalls). The reviews in chronological order were a part of IASLonline Lessons in NetArt.
Links refer to texts with informations on the history of NetArt and web specific, for NetArt relevant problems since April 2002. The list was expanded in March 2003 with links to platforms, portals, mailing lists and newsgroups with actual informations on NetArt, net conditions and activism, databases for Intermedia Art and book reviews in "IASLonline Rezensionen". Subject-oriented websites are considered as platforms if they are more than curated links and contain artistic projects in their database. The links to articles on actual aspects of NetArt are added since February 2004. The dates of the entries are listed in brackets (month/year). Since May 2015 the links are not only listed in alphabetical order, but in chronological order, too. The last reviews are from September 2022.
If you download the PDF then you can use the links.
URL: https://iasl.uni-muenchen.de/links/NALinkechron.html

In an era dominated by centralized digital platforms, Social-Fi (Social Finance) emerges as a transformative paradigm at the intersection of decentralized finance (DeFi) and social interaction. Rooted in the philosophies of human rights, creative autonomy, and democratic governance, Social-Fi challenges the exploitative structures of Web2 by proposing decentralized ownership, tokenized influence, and community-driven governance. This paper explores the core frameworks, philosophical underpinnings, and potential societal impacts of Social-Fi initiatives. Drawing from the SocialFi Manifesto authored by Dr. Ravi Singh (2025), this study articulates a vision for a new digital civilization where creators, not corporations, are the primary architects of value, influence, and identity. The paper critically examines the promises and limitations of Social-Fi systems, aiming to contribute to the growing academic discourse around the future of decentralized social ecosystems.

Dominant discourses of imposter syndrome consider either the psychic or material registers of imposters; our intervention in this article identifies a third register on which the psychic and material depend: the ontological. Imposter syndrome, we argue, is defined by three positions: (1) the figure of the scholar—who is characterized by self-actualization, freedom and belonging, which relegates it to the positive ontological position; (2) the subject with imposter syndrome—who is characterized by an experience of deferred capacity and contested belonging; and (3) the imposter proper—who is characterized by negation, incapacity and unbelonging, relegating it to an ontological absence, or a spectre that is not seen but structures presence nonetheless. To make this argument, we draw a parallel with Sara-Maria Sorentino's analysis of incapacity in the oikos, which Sorentino argues is a spectral position, to the imposter in the university. The imposter proper is the position against which the second and third are produced. By locating the imposter proper as a separate position that is not only defined and determined by material or psychic constraints but also ontological violences, we develop the argument that when one cures imposter syndrome, the imposter still remains. Although the experience of being an imposter is not exclusive to the university, we take the North American university as our case study because the rhetoric of the imposter is so ubiquitous across academic institutions.

This article explores how static and moving digital images can address trauma from political loss, focusing on the production of The World Upside Down video, which is part of my postdoctoral research. It discusses the strategies used to convey the complexities of collective trauma through language, symbolism, and imagination. The video encourages a Deleuzoguattarian perspective, viewing the image as an interpretive memory assemblage open to eventuality. It gives an account of the delicacy of the artist's locus in attempting to grasp what Jacques Derrida eloquently describes as our responsibility towards the dead. In the rise of extreme right-wing parties and neo-fascist ideologies in contemporary western societies, this exposition advocates for an antifascist relationship among aesthetics, memory and public space/discourse.

The development of AI has become a disruptive and transformative force that alters all forms of creative expression, including visual art, music, literature, and performance. Artistic content generation through AI technology expands authorship constraints by enabling machines to produce art in various ways, enhancing existing works, and executing simulations. This paper presents a comprehensive assessment of AI implementation across various art fields before examining how AI impacts human creative capabilities and identifying the ethical and conceptual issues that arise from machine-generated artworks. This paper synthesises contemporary research from 2019 to 2025 on AI technology in creative applications. The creative field currently experiences major changes because machine-produced artwork becomes more sophisticated thanks to AI tools, including DALL-E, Stable Diffusion, GPT-4 and AI-generated content. AI technology introduces new artistic territory but raises debates on copyright rules, sparks authorship debates, affects employment conditions and disrupts human-machine professional interactions. The investigation highlights both the benefits and challenges that arise from artificial intelligence applications in creativity. With AI tools, humans can enhance their artistic quality by leveraging AI as a collaborative tool and venture into new artistic domains that surpass human capabilities. Prior regulatory action must be taken urgently to address significant ethical concerns, including copyright conflicts, data bias, and the erosion of artistic authenticity. The review emphasizes the importance of integrating knowledge from artistic disciplines with both legal frameworks and ethical AI regulations to strike a balance between technological progress and artistic quality.

The rise of digital music platforms has increased access to content but also heightened risks of intellectual property (IP) violations such as piracy and unauthorized redistribution. This study explores how Big Data technologies can enhance music IP protection. Using a mixed-methods approach, it analyzes YouTube's Content ID, Audius, and Pex to show how AI, blockchain, and large-scale analytics are used to detect infringement, enforce rights, and manage content. Quantitative piracy trends and adoption data complement qualitative insights. While Big Data tools offer scalable rights management, challenges like metadata inconsistency, false positives, legal complexities, and limited access for independent artists persist. Ethical concerns around user privacy also arise. The study recommends standardized metadata, affordable tracking tools, AI-friendly policies, and interoperable global registries. It calls for further research into IP protection for AI-generated music and smart contracts for automated royalty distribution.

While each sector tries to understand “what is happening in technological developments” in its own field today, the next day it encounters another innovation and change. Today, we deeply experience the technological reflections that we saw in movie scenes in the past and had difficulty believing. Tomorrow, developments that challenge our imagination and that we perceive/may perceive as “surreal” await us. With our sudden transition from Industry 4.0 to Industry 5.0, the effects of many new generation technologies, especially cyber-physical systems, have begun to be clearly seen in production, distribution, advertising, corporate communication, after-sales services, customer relations management, sales promotion, etc. marketing and related fields. There is a process of rapid progress from human-machine relations and communication to machine-machine, machine-human relations and communication. As in every field, especially in advertising and brand communication, it is very important for businesses to be aware of every point that digital can and will touch, to develop strategies with this awareness and to use them in application areas. Brands need to develop a digital future vision in the communication processes, formats and channels they establish with all their stakeholders, just as they do today. Of course, it is a necessity of the digital century that this visionary approach is accompanied by innovative approaches in strategic communication management and applications.

As a result of innovative innovations such as big data, the internet of things, artificial intelligence, cloud technologies, internet services, robotics, 5G, real-time imaging technologies (augmented reality (AR), virtual reality (VR), hologram, 360-degree video technologies, etc.), transformations in information and communication technologies have led to the emergence of new concepts, applications and consumer characteristics and different effects on consumers.

Especially the digitalization of consumers, the change in the way we use technology, the differentiation of our communication methods, the use of different interaction methods with brands have also caused changes in the demands of consumers regarding the communication process, channels and message content established with them. Simultaneously, the change in the media has led to the emergence of completely new, different concepts and applications in all communication areas established by brands in order to meet expectations and achieve goals; It has provided transformations with the addition of new features to the existing traditional communication channels and strategies. As a result, these digital transformations directly affect all elements related to branding, from consumers' cognitive and emotional processes to brand loyalty. Therefore, the aim of this book, based on the idea that these innovations and trends in the field of communication, which has a dynamic and living system, should be noticed and revealed, is to discuss and address the information and examples that will guide how all these changes and developments affect and change all aspects of brand communication, especially advertising, and how they will continue to develop and affect in the future.

KURZFASSUNG Für viele Fragestellungen in bezug auf architektonisch wertvolle Gebäude haben sich photogrammetrische Verfahren zur Beschaffung der geometrischen Grundlage bewährt. Durch photogrammetrische Auswertung von digitalen Gebäudeaufnahmen kann ein dreidimensionales photorealistisches Modell ("Photomodell") erzeugt werden. Auf dieses Photomodell können verschiedene Sachinformationen des Gebäudes bezogen werden. Um mit so einem Gebäudeinformationssystem eine breite Öffentlichkeit zu erreichen, werden Standardwerkzeuge aus dem Bereich der Computernetzwerke und der Technologien der virtuellen Welten eingesetzt. Das dreidimensionale Photomodell läßt sich im Format VRML (Virtual Reality Modeling Language) ablegen. Die Sachinformationen-in Form von HTML (Hypertext Markup Language) Dokumenten, Video-oder Audiosequenzen-werden räumlich im Photomodell verankert und sind so für den Benutzer interaktiv zugänglich. Der Beitrag beschreibt die Erzeugung von Photomodellen und den Au...