Page 5 - AC/E Digital Culture Annual Report 2016

such as content distribution, have pioneered the concept of culture as a service, headed by digital startups such as Spotify and Net ix. In his study on the art market, Pau Waelder shows us similar formulas adopted by enterprises that currently o er new forms of collecting art on digital picture frames and de ne themselves as the iTunes and Spotifys of art collecting.Questions, answers and unanswered questions that readers of this year’s report will ndThe authors of this year’s annual report pose various questions about the fascinating future that digital culture holds in store:Who is the stage creator nowadays?One of the most futuristic articles of the report, Pepe Zapata’s, introduces readers to a world of automatons, drones and robots on stage that leads the author to ask: who is the spectator now? This shift in roles is illustrated with many examples of the new interactions between spectator and spectacle that have been made possible by smartphones, drones, robots and all kinds of hybrid realities.‘How the Performing Arts are Changing in the Digital Age’ stresses the blends of digital and real, and o and on, and speaks of the fadingof the boundaries between human, machineand nature. It provides many examples such as the Body project which, to quote the author, ‘experiments with biointeraction between body and technology with the aid of light sensors that respond to the dancer’s biological functions’.This author ends by analysing the digital processes needed to support these new models on the stage, which involve new forms of authorship, and calls for re ection on the possible uses of digital technology in the production of the performing arts toachieve more spectacular results and broader experiences for a lower cost by analysing phenomena such as DIY and maker culture.How is digital art marketed, made pro table and disseminated inthe subscription economy?Pau Waelder’s article ‘The Art Market in the Age of Access’ begins with a survey of the history of digital collecting, which began to catch on in a big way in the late 2010s. It examines the new ways of collecting, exhibiting and selling digital art in the new economy; digital editions, market platforms for digital art and the contradictions that can arise over the consideration of the artwork as a unique object.The analysis provides guidance on cloud collecting and the implications of exhibitingart through streaming. It examines the various connected canvas technologies that allow us to consume art on demand and digital art. A survey based on a number direct questions put to a group of artists concludes that most feel that the art market does not have a signi cant impact on their work. This article clearly advocates what the author calls the third art market and the need to accept media art as a speci c category.Where are the limits in videogame design?Lara Sánchez Coterón takes a twofold approach in ‘Videogame Design and Disruptive Praxis’ in order to analyse the in uence of videogames and the meta-products that have emerged in other arts too, such as painting, as well as the most innovative digital praxis for developing new games that leads them to become artworks themselves.Her detailed survey of the history and modelsof development and evolution of videogames includes self-hacking, mods and countergaming and explains how videogames are rede ning interaction with users through the use of sensorsAC/E DIGITAL CULTURE ANNUAL REPORT 20165Smart Culture: Impact of the Internet on Artistic Creation