Papadaki, Elena ORCID: https://orcid.org/0000-0002-6653-4334 and Nguyen, Duc Son (2026) From the digital revolution to the postdigital condition: contexts, implications, and critical perspectives in Art and Design. In: Papadaki, Elena, (ed.) Explorations in Post-Digital Design: Aesthetics, Computational Creativity, and Sustainability. IGI Global Scientific Publishing, Hershey, Pennsylvania, pp. 1-32. ISBN 979-8337342627 (doi:10.4018/979-8-3373-4262-7.ch001)

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Abstract

This chapter forms the opening contribution to a co-edited volume examining digital art and creative practice in the digital and post-digital era. It provides a critical overview of the formation and development of digital art, tracing the technological, cultural, and aesthetic transformations that have reshaped artistic production and design methodologies. By addressing key issues (including sustainability, ethics, and cultural responsibility), the chapter establishes a rigorous conceptual and historical framework for understanding contemporary creative practice under the post-digital condition, while also positioning the thematic concerns developed across the volume as a whole.

The chapter contributes to the broader multi-component research output Friction as Method: Curating Process in the Age of Automation (https://gala.gre.ac.uk/id/eprint/51786/), which investigates friction (understood as slow time, delay, experimentation, interruption, negotiation, and resistance) as a critical methodology for artistic and curatorial inquiry within increasingly automated and machine-mediated creative environments. Alongside the co-editing of the volume itself, the research connects editorial practice with curatorial, theoretical, and practice-based investigations developed through exhibitions, curatorial initiatives, public presentations, collaborative projects, and critical writing.

The originality of the work lies in its integration of post-digital theory, materiality, and contemporary debates surrounding technological mediation in art and design, positioning digital practice not as a neutral form of innovation but as a site of critical tension and cultural negotiation. Central to this contribution is the concept of “de-grammarizing” technology: a critical approach that seeks to unpack and disrupt the implicit conventions embedded within digital tools and platforms in order to reclaim spaces for artistic agency. Its significance derives from its contribution to current international discourse on digital creativity, authorship, and curatorial practice, Its rigour is demonstrated through sustained interdisciplinary analysis connecting contemporary artistic and curatorial practice with media theory and design history.

Item Type:	Book Section
Uncontrolled Keywords:	This is part of the multi-component output: "Friction as Method: Curating Process in the Age of Automation".
Subjects:	N Fine Arts > N Visual arts (General) For photography, see TR N Fine Arts > NC Drawing Design Illustration T Technology > T Technology (General)
Faculty / School / Research Centre / Research Group:	Faculty of Law, Arts and Social Sciences Faculty of Law, Arts and Social Sciences > School of Design and Creative Industries
Last Modified:	18 May 2026 11:26
URI:	https://gala.gre.ac.uk/id/eprint/53394

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