This book brings together leading international experts from digital art theory and preservation, digital humanities, collection management, conservation and media art histories. From artists, scholars, technicians and conservators – to preserve this contemporary art is a transdisciplinary task. By its media, art in the digital sphere is processual, contextual, modular and ephemeral, and its creative process is collaborative. Digital art challenges archiving, collecting and preserving methods within and outside of gallery, library, archive and museum (GLAM) institutions.

Alcalá Mellado /Beatriz Escribano Belmar, Anne-Marie Duguet, Howard Besser, Giselle Beiguelman, Wendy Coones, Sarah Kenderdine, Marianne Ping-Huang, Raphael Lozano Hemmer, Annet Dekker, Janina Hoth, Laura Leuzzi, Diego Mellado, Oliver Grau, Goki Miyakita/Keiko Okawa, Sabine Himmelsbach, Francesca Franco, Patricia Falcão. With contributions by: Frieder Nake, George Legrady, José R. This takes the form of secondary and subjugated conditions as slaves to human beings as they perform menial and unpleasant tasks such as mining and prostitution in off-world colonies as well as four-year mortalities which terminate them at the precise point at which they acquire sufficient experience to develop emotional faculties no different from those of human beings. They are programmed by the Tyrell Corporation to ‘be more human than human’(Scott, 1982) as they possess a sentience sufficiently advanced and sophisticated for them to attain a poignant awareness of the circumscribed limits that bind them to a constricted mode of being. In Blade Runner (1982) the distinction between being-in-itself and being-for-itself is problematized and ambiguated through the enigmatic and ambivalent phenomena of the Replicant, which lies somewhere between the category of man and machine, or subject and object, especially with the development of the Nexus-Six prototype with its capacity to develop more advanced emotional responses than previous generations of replicants.

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