The post-digital labyrinth. Understanding post-digital diversity through CGI volumetric aesthetics

Bibliographic Data

ID21690001
AuthorsVítor Blanco-Fernández (0000-0002-4906-3577, Universitat Pompeu Fabra (UPF), Communication Department, CritiCC Research Group, Barcelona 08018, Spain., corresponding author)
Year2022
Volume28
Issue5
Pages1421-1437
Publication date2022-10-01
Open AccessYes
TypeARTICLE
VenueConvergence The International Journal of Research into New Media Technologies (JOURNAL)
Journal identifiersISSN: 1354-8565 • E-ISSN: 1748-7382
PublisherSAGE Publications (PUBLISHER • US)
DOI10.1177/13548565221077587
OpenAlexW4214912203
LanguageEN
References cited45

Coined in 1998, the term post-digital has been used and discussed in several heterogenous disciplines and debates, to the point that it has now ramified into diverse, confusing and overlapping definitions and purposes, which constitute what I have called the post-digital labyrinth . Considering the theoretical works on post-digitality published up until the mid-2010s, I propose five different approaches to the post-digital condition : 1) digital expansion and the end of fascination; 2) the rejection of the narrative of techno-positivist progress; 3) the radical criticism of binarization; 4) the acceleration of a purely digital aesthetic and 5) the contemporary zeitgeist , our current affective map . I make use of CGI Volumetric/3D contemporary art to illustrate each of these approaches. Finally, I conclude that the worth of the post-digital resides in its heterogeneity. The lack of a narrow definition is precisely an opportunity for more diverse creation

Aesthetics · Art · Criticism · Epistemology · Literature · Narrative · Positivism · Sociology · Zeitgeist · Computer Science · Digital Games and Media · Digital Media and Philosophy · Innovative Human-Technology Interaction · Mathematics · Philosophy

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