Postdigital Artisans profiles 60 contemporary artists and designers, accompanied by rich illustrations of their postdigital work.

Digital technologies have profoundly impacted the arts and expanded the field of sculpture since the 1950s. Art history, however, continues to pay little attention to sculptural works that are conceived and ‘materialized’ using digital technologies. How can we rethink the artistic medium in relation to our technological present and its historical precursors? A number of theoretical approaches discuss the implications of the so-called ‘Aesthetics of the Digital’, referring, above all, to screen-based phenomena. For the first time, this publication brings together international and trans-historical research perspectives to explore how digital technologies re-configure the understanding of sculpture and the sculptural leading into the (post-)digital age. Up-to-date research on digital technologies’ expansion of the concept of sculpture Linking historical sculptural debates with discourse on the new media and (post-)digital culture

Postdigital Aesthetics is a contribution to questions raised by our newly computational everyday lives and the aesthetics which reflect both the postdigital nature of this age, but also critical perspectives of a post-internet world.

The New Aesthetic and Art: Constellations of the Postdigital is an interdisciplinary analysis focusing on new digital phenomena at the intersections of theory and contemporary art. Asserting the unique character of New Aesthetic objects, Contreras-Koterbay and Mirocha trace the origins of the New Aesthetic in visual arts, design, and software, find its presence resonating in various kinds of digital imagery, and track its agency in everyday effects of the intertwined physical world and the digital realm. Contreras-Koterbay and Mirocha bring to light an original perspective that identifies an autonomous quality in common digital objects and examples of art that are increasingly an important influence for today's culture and society.

Frictionlessness provides an examination of the environmentally destructive digital design philosophy of "frictionlessness" and the critical significance of a technological aesthetic of imperfection. If there is one thing that defines digital consumer technologies today, it is that they are designed to feel frictionless. From smart technologies to cloud computing, from from one-click shopping to the promise of seamless streaming-digital technology is framed to host ever-faster operations while receding increasingly into the background of perception. The environmental costs of this fetishization of frictionlessness are enormous and unevenly distributed; the frictionless experience of the end user tends to be supported by opaque networks of exploited labor and extracted resources that disproportionately impact the Global South. This situation marks an urgent need for alternate, less destructive aesthetic relations to technology. As such, this book examines imperfection, as an aesthetic concept that highlights existential conditions of finitude and fragility, as a particularly powerful counterweight to the dominant digital design philosophy of frictionlessness. While frictionlessness aims to draw the user's perception away from the exploitative and destructive conditions of digital production, imperfection forms an aesthetic source of friction that alerts users to the fragile nature of technology and the finite resources on which it relies. These arguments are elaborated through a close reading of three technological objects-a video game that was programmed to expire, an audiovisual performance that laments the fate of disused technology and a collection of music albums that dramatize a techno-cultural logic of relentless consumerism. Together, these case studies underline the value of technological aesthetics of imperfection and point to the need for a renewed ethics of care in relation to technology.

"There is today a pronounced and accelerated convergence in architecture. This convergence is occurring by doers not thinkers; in practice not academia; in building design, fabrication, and construction. It is about solution-centric individuals engaged in real time problem solving, not in abstractions. The nature of this convergence, where things are converging and what that means for architecture, is the subject of this book." —from the Introduction Those working in architecture and engineering feel pressure to work faster, at lower cost, while maintaining a high level of innovation and quality. At the same time, emergent tools and processes make this possible. Convergence is about the firms, teams and people who thrive in this environment as a result of their ability to creatively combine and innovate. It seeks to answer several timely questions: What are the tools and work processes that are converging? How are individuals and organizations converging their tools and work processes? What challenges and benefits are they seeing? What is the ultimate endgame of this convergence? What skillsets and mindsets would someone need to develop to work effectively in this changing environment? What are the implications of convergence on the role of the designer, and on design? On how we design, build, fabricate, and construct? On how we work? The book explains how convergence relates to, but ultimately differs from integration, consolidation, multi-tasking, automation, and other forms of optimization. The practice-based research builds upon the author’s research in BIM and in the collaborative leveraging of data in design and fabrication. As an investigation and meditation on the impact of technology on the education and making of design professionals Convergence explains what is happening in the world of design, and discusses the implications for the future of education, training and practice.

Proceedings of the 2017 BTES meeting in Des Moines, Iowa. Contains papers submitted for presentation on topics relating to architectural technology applications and pedagogy.