Conferência realizada na Universidade Aberta em Lisboa, de 16-17 de novembro de 2018.Artefacts of the digital culture and art are digital or computerbased in essence. They aim at enhancing meaningful experiences to the observer/user/enjoyer alone or in groups. In their most striking essence, these artefacts are not only objects to be passively appreciated, but bring virtual characteristics,
eventually immersive, boosting interaction, leading the user/enjoyer to embark on a journey of aesthetic contemplation of a polysemic nature. A meaningful experience occurs when the subject classifies it as relevant and rewarding, embracing various kinds of experiences (aesthetic-contemplative, educational,
playful, entertaining, historical, social, etc.).info:eu-repo/semantics/publishedVersio

Marcos, Adérito

Mucheroni, Marcos

English

Mucheroni, Marcos Luiz

The Repositório Aberto

Proceedings of 1st International Conference on Transdisciplinary Studies in 
Arts, Technology and Society, ARTeFACTo 2018 
November 16-17, Lisbon, Portugal 
 
  © 2018 Artech-International 6 
ARTEFACTS IN THE DIGITAL ERA 
 
 
Adérito Fernandes-Marcos 
 
 CIAC-Research Center for Arts 
and Communication; INESC-TEC; 
Aberta University 
Lisbon, Portugal 
 
 
aderito.marcos@uab.pt  
 
 
Marcos L. Mucheroni 
 
Arts and Communication School, 
São Paulo University, Brasil; 
CIAC-Research Center for Arts and 
Communication, Aberta 
University, Lisbon, Portugal 
 
mmucheroni@ciac.uab.pt 
 
We are living in the age of the post personal computer. Personal 
computers or, for instance, our smartphones have been gradually 
transformed and multiplied into single nodes of a global web, 
embracing billions of other computers / devices scattered around 
the globe, where each node can be instantiated in the form of 
various devices ubiquitously accessible through a cloud of data 
and connections, a kind of protective sky that safeguards private 
and public data and connections where a significant part of the 
population connects to communicate, work and socialize in 
growing networks and subgroups of groups of interest, evolving 
to what has been designated as the information and knowledge 
society [1]. 
Already in the 1960s, when the idea of computer networks 
was only born in restricted academic and military environments, 
it was possible to perceive a change in communication and 
language present in the literature ranging from Heidegger's [2] 
technique vision to the idea of Marshall McLuhan's global 
village, both looking especially at radio and TV [3]. The essential 
discussion that these two authors bring is the distance between 
the "natural" and the "technical", in the digital case, the use of 
these digital media or means that act as accelerators of the 
technology. In the case of nature, it depends on the poiesis, and 
in the case of seft auto-redution autopoiesis (terms of Maturana 
and Varela applied to biology) can not be understood only as an 
operation to doing, for what appears in Heidegger's thought to 
be unveiled (from the Greek Aletheia), it is revealed by means of 
technique and not one more natural process. Hence McLuhan's 
idea "the medium is the message," that is to say, the poeisis was 
profoundly alternated by a medium, a technique no longer being 
a "natural" process, but is still ontological and concerned with 
Being [4]. So much so that, on the plane of natural happening, 
what comes to appear depends on nature as poiesis, in this case 
the natural self-production that could not be understood as an 
operation of doing. The difference is that when something is 
technically produced, letting it appear occurs through technique, 
not through a natural process, but there is a cultural change 
through the influence of the language of the medium. 
Marshall McLuhan in his two major works Understand Media 
(1974) and The Gutenberg Galaxy (1962), studies three cultures 
dependent on the environment: the oral culture in which the oral 
word is fundamental for its understanding and based on this 
many tribal contemporary societies could have been studied, 
their typographic and visual culture (Gutenberg's galaxy) that 
definitively influenced modernity, and already in its time, the 
emergence of electronic culture. 
Flusser launches the classic question of the tree that falls in 
the forest: "If a tree falls into virtual space, and there is no one 
online, does it generate a warning message?" In the introduction 
to his book, the preacher Rafael Cardoso recalls that "Flusser 
devoted much of his enormous power of reflection to images and 
artifacts, laying the foundations for a legitimate philosophy of 
design and communication." (p.10). [5]. Although Flusser 
separates here images of artefacts, which conceptually we do not 
separate since the images are original artefacts that comes from 
the rock paintings, what we call here native cultures, that is, the 
basic formation of many cultures that must be analysed from its 
oral base where eschatological elements are generated or if we 
prefer cosmological, which are essential to understand the 
symbology of a culture. This is true for digital art and culture, 
we must understand the structural and symbolic elements of 
digital culture, if it is a fact that not everyone is included in the 
digital world, the popularization of mobile phones and other 
gadgets that are emerging as cell phones and digital bracelets, 
applications for the most diverse services, the inclusion process 
is (and will be) fast. 
Thus, in order to make a deep reflection between art 
production and the unveiling, this is to reveal what is art in this 
cultural change that we are living nowadays, it is necessary to 
November 16-17, Lisbon, Portugal Proceedings of 1st International Conference on Transdisciplinary Studies in 
Arts, Technology and Society, ARTeFACTo 2018 
 
© Artech-International  7 
establish the relation between poiesis and alethéia, the latter 
understood in Heidegger as a different stage of truth, more 
linked to idea of memory (lethe - forgetting), to bring to the fore 
the essential foundations of culture that are sometimes forgotten, 
and which must always be analysed critically and unveiled. 
With the popularization of the Web in the new millennium, 
there was a need to increase semantic structures to organize the 
chaos of information dissemination by the increase of content 
producers, along with the possibilities of introducing millions of 
people into the world of art, who have not yet come across 
photos, drawings and even complex artefacts made by unknown 
authors and for the more complex artifacts. 
Nowadays, digital media became a fundamental part of the 
information society construction, especially considering the 
devices, infrastructure and computer technology that allow the 
generation (capture / synthesize), transformation, presentation 
or display and the communication of the information in digital 
format (binary base coding). Digital media, combined with 
information and communication technologies that enable its 
processing and control, strongly influence today, for example, 
how we nowadays understand, create and consume art and 
culture, especially when embodied in digital/computer artefacts 
that are presented to us from informational/communicational 
spaces, inviting us to interaction and involvement [1]. 
Marshal McLuhan wrote as early as the 1960s in the prologue 
to the Gutenberg Galaxy: "The Electronic Age [now digital], 
which follows the typographic and mechanical era of the last 
five hundred years, confronts us with new forms and new 
structures of human interdependence". On the other hand, the 
fact that the electronic media, especially the audiovisual media, 
have addressed the spectator's multiple sensibility directly and 
has a plea for sensorial integration, triggers a multidimensional 
and polymorphic apprehension, in a word that allows us to 
restore the expressive richness of oral communication, "that is, it 
is not a separation of the three galaxies, but a complex 
polymorphic integration”. 
However, if we look at the nature of digital art we find that it 
suffers from influences that run through the entire twentieth 
century, going back to the decade 10 and the Dada movement, 
not to forget the Surrealism as a post-surrealism when Salvador 
Dali understands the digital and somewhat quantumic revolution 
in his paintings: Christus Hypercubus, The Persistence of 
Memory (see the distortion of clocks as a new view of time and 
being) and Linconl in Dalivision where the figure appears 
pixelated as if it were digital.  
Byung-Chull Han in his works "The Salvation of the 
Beautiful" (2015) [6] and "Aroma do Tempo" (2016) [7] seeks to 
save the idea of beauty and contemplation (vita contemplativa) 
by putting it to the contemporary stress of Vita Activa, in "The 
Society of Fatigue" (2010) [14]  that emptied the being and led 
humanity to anguish, consumerism and an egocentrism 
unprecedented in history. 
Chull-Han (2015) also establishes the relation with the new 
media, where through the work Mythologies (1957) of Roland 
Barthes [9], reminiscent of the tactile model of the car Citröen, 
that in the interactivity of the media: the talt is the most 
demystifying of the senses, while the visions [today the realities; 
virtual, augmented and mixed] the most magical. To mention the 
artists Dada, Marcel Duchamp or László Moholy-Nagy, who 
developed the concepts of virtuality, volatility or introduced the 
use of other senses, such as touch or smell, in their pieces. 
The role of the active spectator / performer, who ceases to be 
a simple observer to assume as an observer-actor-intervener, 
that interacting, can alter the artistic artefact itself and its 
context of fruition, concepts that are dear to the current digital 
art / computer art melieu, are characteristics already intensely 
explored by Dada artists and subsequent movements, in a 
different way also links to this, the new idea of public: The 
Emancipated Spectator and The Future of Image (2003) by 
Jacques Rancière [10]. 
Analyzing the work of the painter Gaughin the Peasants, 
Rancière redefines Hegel's idea of autonomy that separates 
subject from object by the idea of autonomization, we dare to use 
a new category of ontic significance of the artefact, for the 
author is the autonomization: "one of these elements, the 
'routing of the threads of representation' that bound them to the 
reproduction of a repetitive way of life. It is the substitution of 
these objects for the light of their appearance. From that point 
on, what happens is an epiphany of the visible, an autonomy of 
the pictorial presence. “(Rancière, 2003: 87), an apparition here is 
perfectly compatible with Heidegger's" clearing", hence ontic 
[10]. 
John Cage and Karlheinz Stockhausen developed the concepts 
of control based on instructions or controlled randomness to 
generate phrases and musical compositions. Other artists and 
pioneering theorists such as Grahame Weinbren, Nam June Paik, 
Michael A. Noll, John Whitney, Vera Molnar or Charles Csuri, to 
name just a few, developed the concept of random access in the 
generation of computer synthesized audio and images. Ray 
Ascott and Lev Manovich more recently theorized about the 
interactivity and the role of communicational averages in the 
process of digital creation and digital, computational and 
interactive art in general. These characteristics define 
transversally the art and the digital culture and all its variants 
and specializations such as the digital medium-art, establishing 
in itself the vectors of development of an aesthetics of the digital 
means [11] [12]. 
The digital art and culture are substantiated in the social 
interaction, of the manifestation of the individual and collective 
imaginary, through the artefacts, which coexist in a common 
informational and communicational space supported in the 
digital media and infrastructures. These artefacts represent the 
greatest expression of our common imaginary within a 
contemporaneity that is mixed up with the information society. 
Routio presents the science of artefacts, or arteology, an 
attempt to stablish a theory of the artefacts, using the 
combination of "ars" from Latin (art, technique) and the Greek 
"logos" (work, knowledge). Arteology studies the semiotics of 
artefacts, of any nature, their functionality and usability, beauty, 
message and surroundings, processes of investigation and 
Proceedings of 1st International Conference on Transdisciplinary Studies in 
Arts, Technology and Society, ARTeFACTo 2018 
November 16-17, Lisbon, Portugal 
 
  © 2018 Artech-International 8 
categorization, among others. Thus, it proposes the comparative 
study of several artefacts in the sense of helping to understand 
the activity inherent in their production, their creation processes 
and their creators. Routio analysed in detail aspects such as the 
difference of expectations and as such may be at the origin in the 
difference of experiences that a certain artefact can mediate [13]: 
… If the observer of a work of art has an expectation, his 
impression of the work seldom corresponds to the expectation 
exactly. The difference can be called a difference of expectations. 
If this difference is too small, the result will be that the work 
gives a trivial impression. If, however, the difference is too large, 
the work of art may remain totally incomprehensible. Only when 
a work of art differs from the expectations to a suitable degree, is 
the aesthetic impression positive ([13], pg.355). 
Artefacts of the digital culture and art are digital or computer-
based in essence. They aim at enhancing meaningful experiences 
to the observer/user/enjoyer alone or in groups. In their most 
striking essence, these artefacts are not only objects to be 
passively appreciated, but bring virtual characteristics, 
eventually immersive, boosting interaction, leading the user-
enjoyer to embark on a journey of aesthetic contemplation of a 
polysemic nature. A meaningful experience occurs when the 
subject classifies it as relevant and rewarding, embracing various 
kinds of experiences (aesthetic-contemplative, educational, 
playful, entertaining, historical, social, etc.) [1].  
Digital and computer artefacts constitute an intrinsic 
constructing block of the today’s information and 
communication society. They comprise their own specific 
aesthetics characterised by facets of the digital world itself in its 
multi-, inter- and transdisciplinary nature. These artefacts are 
inseparable from contemporaneity. 
REFERENCES 
[1] Fernandes-Marcos, Adérito - Computer artefact: the crucial element in artistic 
practice in digital art and culture. "Revista Lusófona de Estudos Culturais". [Em 
linha]. ISSN 2183-0886. Vol. 3, n. 2 (2017), p. 149–166 
[2] Heidegger, Martin. (2007) A questão da técnica. Disponível em: scientiæ studia, 
São Paulo, v. 5, n. 3, p. 375-98, acedido em: setembro de 2016.  
[3] McLuhan, Marshall. (1974). Understanding Media. [S.l.]: Editora Pensamento - 
Cultrix.  
[4] McLuhan, Marshall. (1962) A galáxia de Gutenberg. São Paulo: Nacional. 
[5] Flussel, Vilém (2017) O mundo codificado: por uma filosofia do design. São 
Paulo: Ubu editora. 
 [6] Flussel, Vilém (2017) O mundo codificado: por uma filosofia do design. São 
Paulo: Ubu editora. 
[7] Han, Byung-Chul (2015). A salvação do Belo, Lisboa. Relógio d´Água, 2016. 
[8] Han, Byung-Chul (2016). O Aroma do Tempo: um ensaio filosófico sobre a Arte 
da Demora, Lisboa: Relógio d´Água.  
[9] Barthes, Roland. (2003) Mitologias. São Paulo: Difel, isbn: 9788574320489. 
[10] Rancière, J. (2003) O destino das imagens. Rio de Janeiro: Contraponto.  
[11] Marcos, A. & Branco, P. & Carvalho, J. (2009). The computer medium in digital 
art’s creative development process. In J. Braman & G. Vincenti & G. Trajkovski 
(Eds.), Handbook of Research on Computational Arts and Creative Informatics 
(1-15). Hershey, Pennsylvania: IGI Publishing. 
[12] Paul, Ch. (2005). Digital Art. London: Thames & Hudson Ltd. 
[13] Routio, P. (2003). Arteology: Semiotics of Artifacts. Available 5 May 2017 em 
http://158.132.155.107/posh97/private/Arteology/Arteology.pdf   
[14] Han, Byung-Chul (2010). A sociedade do cansaço, Lisboa. Relógio d´Água, 
2014. 
[15] Eco, H. (1962). The Open Work. Harvard University Press. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 


Artefacts in the digital era

Repositório Aberto da Universidade Aberta

Proceedings of 1st International Conference on Transdisciplinary Studies in Arts, Technology and Society, ARTeFACTo 2018 November 16-17, Lisbon, Portugal    © 2018 Artech-International 6 ARTEFACTS IN THE DIGITAL ERA   Adérito Fernandes-Marcos   CIAC-Research Center for Arts and Communication; INESC-TEC; Aberta University Lisbon, Portugal   aderito.marcos@uab.pt    Marcos L. Mucheroni  Arts and Communication School, São Paulo University, Brasil; CIAC-Research Center for Arts and Communication, Aberta University, Lisbon, Portugal  mmucheroni@ciac.uab.pt  We are living in the age of the post personal computer. Personal computers or, for instance, our smartphones have been gradually transformed and multiplied into single nodes of a global web, embracing billions of other computers / devices scattered around the globe, where each node can be instantiated in the form of various devices ubiquitously accessible through a cloud of data and connections, a kind of protective sky that safeguards private and public data and connections where a significant part of the population connects to communicate, work and socialize in growing networks and subgroups of groups of interest, evolving to what has been designated as the information and knowledge society [1]. Already in the 1960s, when the idea of computer networks was only born in restricted academic and military environments, it was possible to perceive a change in communication and language present in the literature ranging from Heidegger's [2] technique vision to the idea of Marshall McLuhan's global village, both looking especially at radio and TV [3]. The essential discussion that these two authors bring is the distance between the "natural" and the "technical", in the digital case, the use of these digital media or means that act as accelerators of the technology. In the case of nature, it depends on the poiesis, and in the case of seft auto-redution autopoiesis (terms of Maturana and Varela applied to biology) can not be understood only as an operation to doing, for what appears in Heidegger's thought to be unveiled (from the Greek Aletheia), it is revealed by means of technique and not one more natural process. Hence McLuhan's idea "the medium is the message," that is to say, the poeisis was profoundly alternated by a medium, a technique no longer being a "natural" process, but is still ontological and concerned with Being [4]. So much so that, on the plane of natural happening, what comes to appear depends on nature as poiesis, in this case the natural self-production that could not be understood as an operation of doing. The difference is that when something is technically produced, letting it appear occurs through technique, not through a natural process, but there is a cultural change through the influence of the language of the medium. Marshall McLuhan in his two major works Understand Media (1974) and The Gutenberg Galaxy (1962), studies three cultures dependent on the environment: the oral culture in which the oral word is fundamental for its understanding and based on this many tribal contemporary societies could have been studied, their typographic and visual culture (Gutenberg's galaxy) that definitively influenced modernity, and already in its time, the emergence of electronic culture. Flusser launches the classic question of the tree that falls in the forest: "If a tree falls into virtual space, and there is no one online, does it generate a warning message?" In the introduction to his book, the preacher Rafael Cardoso recalls that "Flusser devoted much of his enormous power of reflection to images and artifacts, laying the foundations for a legitimate philosophy of design and communication." (p.10). [5]. Although Flusser separates here images of artefacts, which conceptually we do not separate since the images are original artefacts that comes from the rock paintings, what we call here native cultures, that is, the basic formation of many cultures that must be analysed from its oral base where eschatological elements are generated or if we prefer cosmological, which are essential to understand the symbology of a culture. This is true for digital art and culture, we must understand the structural and symbolic elements of digital culture, if it is a fact that not everyone is included in the digital world, the popularization of mobile phones and other gadgets that are emerging as cell phones and digital bracelets, applications for the most diverse services, the inclusion process is (and will be) fast. Thus, in order to make a deep reflection between art production and the unveiling, this is to reveal what is art in this cultural change that we are living nowadays, it is necessary to November 16-17, Lisbon, Portugal Proceedings of 1st International Conference on Transdisciplinary Studies in Arts, Technology and Society, ARTeFACTo 2018  © Artech-International  7 establish the relation between poiesis and alethéia, the latter understood in Heidegger as a different stage of truth, more linked to idea of memory (lethe - forgetting), to bring to the fore the essential foundations of culture that are sometimes forgotten, and which must always be analysed critically and unveiled. With the popularization of the Web in the new millennium, there was a need to increase semantic structures to organize the chaos of information dissemination by the increase of content producers, along with the possibilities of introducing millions of people into the world of art, who have not yet come across photos, drawings and even complex artefacts made by unknown authors and for the more complex artifacts. Nowadays, digital media became a fundamental part of the information society construction, especially considering the devices, infrastructure and computer technology that allow the generation (capture / synthesize), transformation, presentation or display and the communication of the information in digital format (binary base coding). Digital media, combined with information and communication technologies that enable its processing and control, strongly influence today, for example, how we nowadays understand, create and consume art and culture, especially when embodied in digital/computer artefacts that are presented to us from informational/communicational spaces, inviting us to interaction and involvement [1]. Marshal McLuhan wrote as early as the 1960s in the prologue to the Gutenberg Galaxy: "The Electronic Age [now digital], which follows the typographic and mechanical era of the last five hundred years, confronts us with new forms and new structures of human interdependence". On the other hand, the fact that the electronic media, especially the audiovisual media, have addressed the spectator's multiple sensibility directly and has a plea for sensorial integration, triggers a multidimensional and polymorphic apprehension, in a word that allows us to restore the expressive richness of oral communication, "that is, it is not a separation of the three galaxies, but a complex polymorphic integration”. However, if we look at the nature of digital art we find that it suffers from influences that run through the entire twentieth century, going back to the decade 10 and the Dada movement, not to forget the Surrealism as a post-surrealism when Salvador Dali understands the digital and somewhat quantumic revolution in his paintings: Christus Hypercubus, The Persistence of Memory (see the distortion of clocks as a new view of time and being) and Linconl in Dalivision where the figure appears pixelated as if it were digital.  Byung-Chull Han in his works "The Salvation of the Beautiful" (2015) [6] and "Aroma do Tempo" (2016) [7] seeks to save the idea of beauty and contemplation (vita contemplativa) by putting it to the contemporary stress of Vita Activa, in "The Society of Fatigue" (2010) [14]  that emptied the being and led humanity to anguish, consumerism and an egocentrism unprecedented in history. Chull-Han (2015) also establishes the relation with the new media, where through the work Mythologies (1957) of Roland Barthes [9], reminiscent of the tactile model of the car Citröen, that in the interactivity of the media: the talt is the most demystifying of the senses, while the visions [today the realities; virtual, augmented and mixed] the most magical. To mention the artists Dada, Marcel Duchamp or László Moholy-Nagy, who developed the concepts of virtuality, volatility or introduced the use of other senses, such as touch or smell, in their pieces. The role of the active spectator / performer, who ceases to be a simple observer to assume as an observer-actor-intervener, that interacting, can alter the artistic artefact itself and its context of fruition, concepts that are dear to the current digital art / computer art melieu, are characteristics already intensely explored by Dada artists and subsequent movements, in a different way also links to this, the new idea of public: The Emancipated Spectator and The Future of Image (2003) by Jacques Rancière [10]. Analyzing the work of the painter Gaughin the Peasants, Rancière redefines Hegel's idea of autonomy that separates subject from object by the idea of autonomization, we dare to use a new category of ontic significance of the artefact, for the author is the autonomization: "one of these elements, the 'routing of the threads of representation' that bound them to the reproduction of a repetitive way of life. It is the substitution of these objects for the light of their appearance. From that point on, what happens is an epiphany of the visible, an autonomy of the pictorial presence. “(Rancière, 2003: 87), an apparition here is perfectly compatible with Heidegger's" clearing", hence ontic [10]. John Cage and Karlheinz Stockhausen developed the concepts of control based on instructions or controlled randomness to generate phrases and musical compositions. Other artists and pioneering theorists such as Grahame Weinbren, Nam June Paik, Michael A. Noll, John Whitney, Vera Molnar or Charles Csuri, to name just a few, developed the concept of random access in the generation of computer synthesized audio and images. Ray Ascott and Lev Manovich more recently theorized about the interactivity and the role of communicational averages in the process of digital creation and digital, computational and interactive art in general. These characteristics define transversally the art and the digital culture and all its variants and specializations such as the digital medium-art, establishing in itself the vectors of development of an aesthetics of the digital means [11] [12]. The digital art and culture are substantiated in the social interaction, of the manifestation of the individual and collective imaginary, through the artefacts, which coexist in a common informational and communicational space supported in the digital media and infrastructures. These artefacts represent the greatest expression of our common imaginary within a contemporaneity that is mixed up with the information society. Routio presents the science of artefacts, or arteology, an attempt to stablish a theory of the artefacts, using the combination of "ars" from Latin (art, technique) and the Greek "logos" (work, knowledge). Arteology studies the semiotics of artefacts, of any nature, their functionality and usability, beauty, message and surroundings, processes of investigation and Proceedings of 1st International Conference on Transdisciplinary Studies in Arts, Technology and Society, ARTeFACTo 2018 November 16-17, Lisbon, Portugal    © 2018 Artech-International 8 categorization, among others. Thus, it proposes the comparative study of several artefacts in the sense of helping to understand the activity inherent in their production, their creation processes and their creators. Routio analysed in detail aspects such as the difference of expectations and as such may be at the origin in the difference of experiences that a certain artefact can mediate [13]: … If the observer of a work of art has an expectation, his impression of the work seldom corresponds to the expectation exactly. The difference can be called a difference of expectations. If this difference is too small, the result will be that the work gives a trivial impression. If, however, the difference is too large, the work of art may remain totally incomprehensible. Only when a work of art differs from the expectations to a suitable degree, is the aesthetic impression positive ([13], pg.355). Artefacts of the digital culture and art are digital or computer-based in essence. They aim at enhancing meaningful experiences to the observer/user/enjoyer alone or in groups. In their most striking essence, these artefacts are not only objects to be passively appreciated, but bring virtual characteristics, eventually immersive, boosting interaction, leading the user-enjoyer to embark on a journey of aesthetic contemplation of a polysemic nature. A meaningful experience occurs when the subject classifies it as relevant and rewarding, embracing various kinds of experiences (aesthetic-contemplative, educational, playful, entertaining, historical, social, etc.) [1].  Digital and computer artefacts constitute an intrinsic constructing block of the today’s information and communication society. They comprise their own specific aesthetics characterised by facets of the digital world itself in its multi-, inter- and transdisciplinary nature. These artefacts are inseparable from contemporaneity. REFERENCES [1] Fernandes-Marcos, Adérito - Computer artefact: the crucial element in artistic practice in digital art and culture. "Revista Lusófona de Estudos Culturais". [Em linha]. ISSN 2183-0886. Vol. 3, n. 2 (2017), p. 149–166 [2] Heidegger, Martin. (2007) A questão da técnica. Disponível em: scientiæ studia, São Paulo, v. 5, n. 3, p. 375-98, acedido em: setembro de 2016.  [3] McLuhan, Marshall. (1974). Understanding Media. [S.l.]: Editora Pensamento - Cultrix.  [4] McLuhan, Marshall. (1962) A galáxia de Gutenberg. São Paulo: Nacional. [5] Flussel, Vilém (2017) O mundo codificado: por uma filosofia do design. São Paulo: Ubu editora.  [6] Flussel, Vilém (2017) O mundo codificado: por uma filosofia do design. São Paulo: Ubu editora. [7] Han, Byung-Chul (2015). A salvação do Belo, Lisboa. Relógio d´Água, 2016. [8] Han, Byung-Chul (2016). O Aroma do Tempo: um ensaio filosófico sobre a Arte da Demora, Lisboa: Relógio d´Água.  [9] Barthes, Roland. (2003) Mitologias. São Paulo: Difel, isbn: 9788574320489. [10] Rancière, J. (2003) O destino das imagens. Rio de Janeiro: Contraponto.  [11] Marcos, A. & Branco, P. & Carvalho, J. (2009). The computer medium in digital art’s creative development process. In J. Braman & G. Vincenti & G. Trajkovski (Eds.), Handbook of Research on Computational Arts and Creative Informatics (1-15). Hershey, Pennsylvania: IGI Publishing. [12] Paul, Ch. (2005). Digital Art. London: Thames & Hudson Ltd. [13] Routio, P. (2003). Arteology: Semiotics of Artifacts. Available 5 May 2017 em http://158.132.155.107/posh97/private/Arteology/Arteology.pdf   [14] Han, Byung-Chul (2010). A sociedade do cansaço, Lisboa. Relógio d´Água, 2014. [15] Eco, H. (1962). The Open Work. Harvard University Press.               

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Artefacts in the digital era

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