According to Daniel Rourke, ” digital practice is constituted – like perhaps any technology – by malfunction. One has to constantly convert information in order to work with it across different platforms and softwares and on the way it is reformatted, translated, compressed or sometimes even blown up, it is enhanced or diminished: it changes. It changes its format or container or outlook or context”. This really surprised me because I was mistaken to believe that every art from the past is preserved in order to show what the artist originally intended it to be like contemporary arts displayed in a gallery. From the reading I realized that art is not replicated identically but constantly dies and is reborn into many different forms and into many different platforms. The glitches or transformations that occur in the art along the way are part of the old art, non-art or new art because of how interesting the context of the art changes because of “the interactions amongst image/objects and image/situations”. The author also stated that “the majority of image production, dissemination, and commentary takes place online” since most people are connected to the digital world in platforms such as YouTube, Tumblr and many more.
The article The great wave by Mark Sladen states that “Dematerialization is not an oppressive suffocation of art but a possibility for art to flourish in disparate and progressive discourses. The web offers infinite room for expansion and participation unlimited by the more severe constraints of space and finance”. Just like the glitch that Daniel Rourke stated from the other article, Sladen believes that a New Aesthetic is born that focuses on how visual material and platform are married together in a social media environment or it could just be a New Satire used for expression in response to the vast digital information to gain response from social media or audience through sharing/liking.