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Currently, and especially since the breakout of the COVID-19 pandemic, there has been an increase of online concerts, talks and even artist residencies. There has also been a development of webstreaming sound studios and online interactive platforms that accommodate art works. Moreover, museums and galleries offer virtual tours to their exhibitions. All this is part of a promise of widening access to cultural, educational and creative opportunities and a suggestion to escape from the limitations and boundaries of time and physical distance. Nonetheless, creative practitioners, curators and art aficionados are urgently compelled to critically analyse, doubt and challenge this promise of limitless possibilities that the online world is offering. In this era of digital information, what expectations does a virtual artwork raise? What is its utilitarian purpose and social value? How do the disembodiment and technological displacement of human beings shape and affect their cultural and communal bonding? To find some answers or, rather, to extend these questions, I will reflect on my artistic practice and experience of creating works that are available on online platforms and controlled with the use of digital interactive tools. A primary analytical tool will be the phenomenological concept of the lived body as well as socio-anthropological arguments about time and materiality. My aim is not to create a fixed and dogmatic theory but to negotiate what role, if any, artistic practice can have in the virtual world.
Yiorgis Sakellariou (Thu,) studied this question.