there ya go :P
Explanation:
First published Mon Feb 23, 2015; substantive revision Thu Aug 1, 2019
The philosophy of digital art is the study of the nature and appreciative grounds of all those kinds of art whose production and presentation crucially involves computer processing. This first-order inquiry cannot proceed without acknowledgment of claims made by media and cultural theorists, art theorists and art audiences, concerning the way digital image- and sound-making technologies are fundamentally changing our understanding of art, physical representation, and perceptual experience. These claims suggest that the “digital condition” (Kittler 1999) induces a loss of trust in the image, a new way of experiencing the world as indeterminate and fragmentary, and a breakdown of traditional boundaries between artist and audience, artwork and artistic process. Testing these claims requires a formal understanding of the distinction between analog and digital systems and the implications of that distinction for aesthetic appreciation. The philosophy of digital art proceeds from a carefully articulated general account of digital representation to an investigation of the precise ways in which different kinds of digital art are digital. This leads to further investigation into the ways an artwork’s digital status bears on its appropriate appreciation. By conducting a systematic analysis of the digital as an artistically significant category, the philosophy of digital art seeks to ground burgeoning interdisciplinary and popular interest in the so-called “digital revolution”.
Although technology-based art is viewed as being part of the “the final avant-garde of the twentieth-century” (Rush 2005), and digital art has been part of the mainstream art world since the late 1900s (Paul 2008), the philosophy of digital art is still an emerging subfield. Three seminal monographs, one on videogames (Tavinor 2009), one on digital cinema (Gaut 2010), and one on computer art (Lopes 2010), have been invaluable in laying the groundwork concerning philosophical questions about art and computer technology. Since these publications, further philosophical attention has been given to the digital arts, including the first published volume to focus on the aesthetics of videogames (see Robson & Tavinor, eds., 2018). However, there is still a great deal of philosophical work to be done. In particular, work is needed to provide a general conceptual framework for an interdisciplinary discussion of the true extent to which the digital has revolutionized art and media.
