![]() ![]() She served as an Art Curator and Editor for Issue No. This informative piece relates digital art to the traditional art world of museums and galleries, drawing comparisons between digital and physical art spaces.įrances Gichner is a senior majoring in Classical Civilizations with minors in Anthropology, Archaeology, Art History, and Visual Media Arts Practice. It describes early digital art pieces and the digital landscape surrounding them. The Demise of Net.Art: A Look At Artifacts Past (2013) is an essay about early digital art. These fractured remains, preserved in the Digital America archives tell us about the memorial that previously existed. In Memoriam (2014) was an interactive memorial to the victims of mass shootings, but the website that housed the project is no longer available. Artifacts in digital radiography can decrease image quality and mask or mimic pathologic changes. This piece speaks to the longevity and relevance of the digital artifact, specifically on social media platforms. Digital radiography is becoming more prevalent in veterinary medicine, and with its increased use has come the recognition of a number of artifacts. An art piece encrypted with information, this piece was designed to intentionally to be a digital artifact-preserving sensitive information to be accessed in the future.ĭigital Tattoo (2013) is an essay that discusses how images and information published on social media stay attached to an online profile like digital scars or tattoos. #ARTIFACT DIGITAL SERIES#The series questions the usefulness and information provided by a digitized artifact through the invention of these “alternative” artifacts.Įndangered Data (2018) was designed to preserves sensitive data, but it requires a unique algorithm to retrieve the information. Below are links to pieces, we hope you enjoy.Īlternative Artifact (2017) is a series of digitally fabricated images of objects with “indeterminable origin” in a style that mimics traditional museum archival photos. This collection pulls together five pieces that address the concept of the “digital artifact.” In addition, the collection itself is comprised of “artifacts” pulled from the Digital America archive. But what makes an “artifact” in a digital space? While there are many pieces of net.art, several mentioned in Murakami’s piece, that have become outdated or that are no longer supported by their respective platforms, the study of these “digital artifacts” remains under-explored. Just like the physical, digital data can become dated and obsolete. The possibility for net.art died with this transition.” ( The Demise of Net.Art: A Look at Artifacts Past, 2013) Rather than a horizontal arrangement of self-published information, the net is now segmented into Facebook, Twitter, YouTube, Wikipedia, Pinterest, Flickr–A list of commercial entities catering to a specific consumer need entities whose content-creation, despite being open to all, is filtered through algorithms based upon their mass-determined attention capital. ![]() We see the Internet as an opaque interface that is navigated by mouse or, hell, even finger – the network is synonymous with the plastic block through which we access it. We now check BuzzFeed or Tumblr on our phones without even processing that we’ve entered an entirely virtual realm. “I am not asking about replacing objects with digital replicas, but asking about the creation of independent digital objects. Though it may feel like our existence online or in the digital cloud is forever, nothing can escape eventual decay.In an increasingly digital world what is happening to the artifact? Essays, art, and digital histories all exist online, in a space independent from the physical realm. What will these newly-widespread digital spaces, the rise of NFT’s, and incomprehensible amounts of digital content shared on social media turn into? We have all felt the random, chaotic energy of entropy shake our lives recently. The way communities interact and have presence in our lives has, for many of us, drastically changed. A good deal of our social interaction is online, as we’re only just beginning to navigate holding events safely. Rembrandt Quiballo’s work feels especially relevant in year two of a pandemic, where many of us are still interacting with colleagues and attending classes through virtual meetings. As more and more of our everyday experiences are mediated through screens, it begs the question of what information can be learned even after our files have long since been corrupted. ![]() It’s an odd combination – the intangible, digital images that exist only on a screen aren’t subject to rips or tears, cracks or friction, but they can break all the same. Even though the digital image is ubiquitous to the point of becoming taken for granted, it’s continually surprising when it shows wear. As image makers and consumers, we don’t tend to think about the digital artifacts we leave behind. ![]()
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