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In "Media and the Mind: Art, Science, and Notebooks as Paper Machines, 1700–1830," Matthew Daniel Eddy explores student notebooks from Enlightenment Scotland, arguing that they functioned as "paper machines" that facilitated cognitive processing and knowledge management. Eddy's study is based on extensive archival material collected from various sources in Scotland. He situates the notekeepers and their practices within the broader social, intellectual, and cultural processes of the eighteenth century, contributing to our understanding of the popular Enlightenment. Eddy's analysis offers valuable insight into how student notebooks aided a dynamic learning process, reframing them as interactive technologies that facilitated learning, agency, and reasoning. [Extracted from the article]

I will briefly discuss the history of research-related projects that Mark Burgin and I worked on together. I will then discuss our joint research related to the circle of sense and nonsense. One paper was entitled In a search for deeper meanings: navigating the circle of Sense and Nonsense and in turn articulating logical varieties as knowledge illuminators and the second was entitled In the Circle of Sense and Nonsense, Including A Mathematic Model of Meaning. This research represents a bridge between the media arts and sciences (my artwork) as a means of embodying ideas exploring a particular approach to meaning production and related computation, as well as Burgin's concepts related to logical varieties and mathematical models of meaning. I will refer to the full papers and links because they present a very robust and full articulation of the concepts discussed here. In this paper, I will briefly touch on the areas of research, supply short definitions, and refer to the relevant historical publications. [ABSTRACT FROM AUTHOR]

At the beginning of the 20th century, the eclectic artist Mariano Fortuny y Madrazo patented two innovative methods for polychrome printing on fabrics and textiles, giving life to Fortuny fabric production in Venice. The first patent was related to colour application, while the second to a special machine that allows continuous printing using cylindrical rollers. Despite the descriptions, the methodology and materials used remain a secret. In collaboration with the Fortuny Museum in Venice, this research aimed at studying and identifying the different steps of Fortuny printing methodologies. Printing matrices, fabrics and raw materials found in the artist's studio were analysed in a multi-analytical campaign through digital microscopy, X-ray fluorescence (XRF), Fourier-transform infrared spectroscopy in attenuated total reflectance (FTIR-ATR), μ-Raman spectroscopy and gas chromatography–mass spectrometry (GC–MS). Three main pigments were identified in paper samples: ivory black, a copper-based pigment, and a carbon black pigment with ultramarine for blues. The pigments were bound with linseed oil and colophony in varying proportions. Polychrome silk fabrics were dyed with a base colour, and then the coloured patterns were superimposed by continuous printing. Prussian blue was identified as one of the textile inks. Results provided a better understanding of printing methodology. [ABSTRACT FROM AUTHOR]

Decades of decline, disinvestment, and racism have left Detroit with an abundance of abandoned buildings, ruins, vacant lots, and illicit trash dumps. Though these structures and materials might have forfeited their previous purposes, they can act as catalysts, substances, and co-creators of artworks. The paper is thus interested in examining the intricate interplay between art, space, and materiality in Detroit further. Drawing from the practices of local artists Olayami Dabls and Scott Hocking, the paper adopts a new materialist framework to investigate the dynamic agency of matter in the artistic process. By considering materials as active participants in the production of art and space, the paper seeks to add to the emerging interest in the emancipation and meaning making of material in art as well as cultural geography's engagements with new materialism. [ABSTRACT FROM AUTHOR]

Throughout the 1970s, a drive towards the diversification of mediums available to artists led to artists working across numerous mediums not usually associated with visual art. While some came to work with sound as a central focus in their practice, most used sound as a medium to be employed in particular artworks for conceptual purposes. The paper is focused on five audio and sound exhibitions presented in New York City between 1978 and 1984. These large group exhibitions were held in alternative art spaces and not-for-profit art galleries and have received little critical attention beyond reviews published in local newspapers and art magazines. As such, these exhibitions have all but disappeared from the history of sound in art and from art history in general. I will argue that this cluster of group shows signal to an emergent practice that was moving past the post-medium condition and conceptual art towards the postmodernism of the 1980s. These exhibitions point to an understanding of sound as a medium of visual art that is at odds with contemporary scholarship in the sonic arts, which favours a music-based understanding of approaches to sound within the art gallery. [ABSTRACT FROM AUTHOR]

In the Hong Kong Chief Executive's 2020 Policy Address, the Hong Kong Special Administrative Region (HKSAR) Government implemented strategies to integrate arts and technology as a new trend in cultural development. With the co-existence of a governmental initiative in 'arts and technology' ('arts tech') development and the rapid advancement of new technologies, it is frequently seen that new technologies (e.g., virtual reality [VR] and augmented reality) have been widely adopted in interactive media art productions in Hong Kong. Drawing on ethnographic research on a commercial virtual event, and a VR theatre performance produced by a Hong Kong cross-media creative studio, this study unveils discrepancies existing between government officials, commercial marketers, and art creators, ranging from objectives to practices in applying technologies to virtual art production. The juxtaposition of a market-driven commercial virtual campaign and the Chinese nationalist agenda embodied in the government-funded arts tech project reflects how the socio-historical background and changing political situation in Hong Kong extends its postcolonial neoliberal nationalism (PNN) to the arts tech arena. The contribution of this paper is two-fold: first, by adopting 'China as method' as epistemological analysis, the mediation of PNN by arts tech explains a 'southbound imaginary' in Hong Kong's arts and cultural practices through a changing relationship between Hong Kong and mainland China. Second, in contrast to the current scholarship focusing on human governance in the formation of neoliberal nationalism, this paper underscores the 'power' of techno-cultural material in mediating the neoliberal nationalism of Hong Kong, after its reversion to China, through arts tech development. [ABSTRACT FROM AUTHOR]

This paper is an analytical, comparative study between James Clavell's 1975 novel, Shōgun, and the 2024 mini-series adaptation created by Rachel Kondo and Justin Marks under the same name. It investigates the adaptation's artful methods of storytelling and the crucial decisions made by the showrunners throughout its production. Their attempt to polish the rich original story written by Clavell represents an important showcase for all modern adaptations that aspire to bring new ideas into classical narratives. As the novel had been known for its tendency to divulge into, long explanatory segments about the cultural and inner workings of Japan through abundant descriptions told by an omniscient narrator and through the use of inner monologues, the TV series is left to face the challenge of fitting all of the cultural guidelines and abstract thoughts onto a different frame. To compensate for its bound lacklustre textual expression, the producers are forced to cross the novelistic boundaries of the book by focusing their efforts on the great visual potential that the story could offer. In this research, I will explore the decisions that carried the show throughout its episodes by relying on the structural theories of adaptation and the various socio-cultural opinions of scholars and critics, which revolve around the representation of Japanese culture by Western artists. My research mainly aims to assess the level of collaboration the two art mediums are able to achieve, both thematically and culturally, in their overall contribution to the story. [ABSTRACT FROM AUTHOR]

This research paper explores the intricate connections between dematerialization, the expanded field, and expanded cinema, drawing insights from cybernetics and trans-aesthetics. Its objective is to investigate the thematic and aesthetic concerns embedded within these concepts and their manifestation in Michelangelo Antonioni's trilogy: Blow-Up (1966), Zabriskie Point (1970), and The Passengers (1975). The study examines Antonioni's inquisition of reality, perception, and play-with images within the expanded field and his politics of dematerialization. The investigation delves into the profligacy and fragmentation of traditional material forms into abstract, conceptual realms, known as dematerialization, which aligns with the expanded field's expansion of artistic expressions and media. Drawing upon cybernetics and maneuvering within queer computational history, the research establishes a theoretical framework for understanding the interconnectedness of these concepts and, furthermore, explores the configuration of autopoiesis and its interplay between systems and environment. The paper attempts to illustrate the impact of universal brain inception, Total AI, and expanded cinema. Moving forward, this study strives to emphasize the structure of the trans-individual, who transcends the consternation of obliteration. So essentially, there's an expansion of consciousness in the realm of expanded reality. The paper is divided into 4 sections that move from one part to another through a comprehensive analysis of Antonioni's Post-World War II films via their obstreperous electronic and abstraction aesthetics, identifying underlying motifs, aesthetic choices, and narrative techniques encrypted in these motion pictures that lie more and more beyond their surface reality. It explores how Antonioni's images embody the dematerialization of history-signs-counterculture-computational networks. Additionally, the murdering of space and expansion rhetoric is methodically disseminated through visual and subtextual symbolism. The research paper takes on a network-driven approach in its investigation, connecting these concepts to unravel their significance in cinema and their metamorphosis since the reverberated effect of the mushroom cloud, its maleficent dematerialization of humanity in Hiroshima. It sheds light on the transformative impact of technology on cinematic expression, the enfolding of temporal structures, the evolution of artistic possibilities, and the blurring of boundaries between art forms. The basal hypothesis of entropy, the second law of thermodynamics predicting energy dissipation and organizational dissolution, serves as a connecting thread. It underscores the transient and ephemeral nature of artistic expressions within the expanded field, expanded cinema, and dematerialization, all moving towards surging entropy. [ABSTRACT FROM AUTHOR]

Learning around artificial intelligence (AI)-powered technologies that attends to power is an urgent and widely felt priority among the learning sciences and CS ed broadly. Popular approaches to AI education focus on technical skills, with far less theoretical and practical work around critical and justice-centered AI learning. Adding to this literature, we discuss tool design and observed interactions in Drag vs AI workshops, where participants use hands-on makeup art as a medium for fooling, subverting, and refusing facial recognition. Our broader analysis asks how participants make sense of the technical and political aspects of AI, as they interact with AI through the Drag vs AI workshops' modes of aesthetic transformation, tinkering, and resistance. In this paper, we focus on participants' embodied algorithmic tinkering with AI and affordances for justice-centered computing education. Our analysis highlights how tinkering and play modes of interaction with AI materials can promote critical and agentive learning. [ABSTRACT FROM AUTHOR]

This paper presents ethnographic research from Journey: Bridging Cultures, a UK-based project that worked with school-aged youths with forced migration backgrounds. Between January 2020 and July 2021, participants and facilitators co-produced a multimedia chamber orchestra work about students' experiences in countries of origin, transit, and destination to present to members of the Oxford community. Through this case study, we explore the translation of refugee narratives into artworks for public audiences, deconstructing the social processes and power negotiations inherent in its crafting and transmission. In conversation with scholarship on arts-based research with refugees, Michel Callon's theory of translation (1984) is mobilised to position translation as both the product and process of multiple mediations. The context of co-productive artistic creation highlights the extent to which marginalised populations shape how their narratives are translated and performed. Such participants may redirect the trajectory of an artistic project through strategies of partial- and non- engagement, but these are balanced against external influences including the parameters of the artistic medium, expectations of imagined audiences, and internalised narratives about what stories to tell. [ABSTRACT FROM AUTHOR]

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In this paper, the authors reflect on a learning experience in which we devised practices grounded in Culturally Responsive Teaching, Equity, Social Emotional Learning (SEL), and Digital Media Arts and how this experience would help students and members of the community (including us as educators) to develop critical knowledge and interconnectedness in the face of uncertainty. We drew on previous research and critical discussions on SEL to create an educational practice that promotes equity and confronts oppression by encouraging students to develop inquiry questions about race and to listen to different perspectives as they form their own answers. In doing this work, we describe those connections and analyze the interviews our students held with community members to explore how these conversations put our students in a role of ownership in their learning path and expanded the idea of community building. [ABSTRACT FROM AUTHOR]

Decolonization as a topic of scholarly investigation and as a conceptual framework is of top priority for focused research and meaningful scholarship in the global-modern world. This study while establishing art as a medium of investigation and a manifestation of socio-political and cultural convictions of a decolonizing Pakistani society aims at exploring the contemporary visual culture and matters of image production to develop an understanding of the processes entangled with issues of sovereignty, selfdetermination and territory. The creative legacies, state and status of art institutions, academic and commercial, and the role of artists who helped art maintain its relevant countenance in Pakistan are also probed. This contextual, theoretical analysis of visual arts finds ‘multiple modernities’ of the ‘global world’ as the most important integer of a ‘decolonizing’ Pakistan. The diversifying effects of global-modern; transformative, differentiated, individualizing, worldwide, and increasingly market-oriented character of Pakistani art is traced through contemporary examples that are well received in the global art market. The main discussion revolves around the often-contested narratives about art in contemporary Pakistan which are illustrative of an everevolving society. The periphery of investigation ultimately expands to the subject of decolonization; to claim sovereignty of mind, thoughts and attitude in order to apprehend the colonial past to make sense of present and to explicit the future as per the inclinations of contemporary times. With an acknowledgement that Pakistan has earned a very respectable place in the global art world and our artists have created a niche in the most powerful and effective industry that administer the world, the paper presents the case of contemporary art in Pakistan as it effects and gets affected by the society. Along with established approaches to historiography – collecting, documenting, digitizing and analyzing the information, research methods are borrowed from sister fields of social sciences only to be tested against the established theoretical frameworks being adopted as part of global discourse on art. [ABSTRACT FROM AUTHOR]

This study focuses on the material characterisation of a collection of 19th-century watercolour replicas that reproduce ancient Egyptian mural paintings and illuminated decorations from medieval manuscripts. Non-contact analyses, including macro-X-ray fluorescence (MA-XRF), X-ray diffraction (XRD), and fibre-optic reflectance spectroscopy (FORS), were employed to examine the composition of the painting materials, particularly the pigments. The findings are contextualised through archival research into 19th-century technical sources on historical painting and illuminating practices, as well as contemporaneous pigment catalogues that reported commercial prices. Ultimately, this research aimed to explore whether 19th-century artists engaged with historical material practices beyond mere visual representation in their depictions of historical subjects. The results obtained from the replicas of medieval illuminations are groundbreaking, as they challenge prevailing scholarly assumptions. Notably, the use of pigments such as minium and ultramarine blue, which were held in high regard during the Middle Ages, along with the use of chalk in the preparation of the support, suggest that, in an industrialised world where engagement with material culture was increasingly driven by commercial profit, some academic circles still sought to explore and preserve selected historical material practices in the art of painting. [ABSTRACT FROM AUTHOR]

This paper provides an overview of the trade in artists' materials in Canton between 1750 and 1842. Through an investigation of China's foreign trade archives and records, this study gives a picture of international trade in artists' materials, particularly pigments, during this period in Canton. Furthermore, it reveals a close trade in Western modern pigments between the West and China. The results of this research may be helpful to conservators and conservation scientists conducting treatments or technical studies on Chinese export paintings of this period. [ABSTRACT FROM AUTHOR]

In this paper, we assess the impact of the COVID‐19 pandemic on the Australian visual arts sector. We base our analysis on the responses of over 1500 visual artists and arts workers to a survey conducted by the National Association for the Visual Arts (NAVA), the national peak body for the visual and media arts, craft and design sector in September 2021. NAVA employed this online survey to study the relationship between the pandemic and both the incomes and mental health of artists and arts workers. Using regression analysis, we find that there has been a significant impact for both artists and arts workers, with the severity of the impacts varying by gender, age and the availability of state‐based and Australian Government support programmes. Reduced hours and loss of contracted work and commissions due to the pandemic were both related to declines in income and mental health outcomes for artists and for arts workers. Housing stress was associated with a higher likelihood of a significant or extreme mental health impact for artists and arts workers. In addition, artists' incomes and mental health outcomes were impacted when faced with a reduced ability to sell, although some artists were able to increase their online profiles. [ABSTRACT FROM AUTHOR]

The development of ceramic art as an aesthetic medium in Chinese education is significant aspect of contemporary fine arts education system. This study explored the status of contemporary status of ceramic arts in education and its linkage with aesthetic pleasure within the context of China. The dimensions considered in this study included integration of ceramic arts in the curriculum of Chinese universities, edu-communicative function of ceramic arts, the aesthetic characteristics of ceramic art and role of modern digital tools in spreading the art and craft associated with clay. To fulfill the aims of study and to reach an efficient conclusion, this study employed a qualitative approach. Using this approach, an overview of Chinese ceramic education was presented using both primary and secondary data, where the primary data was derived from interviews with informants from relevant universities. The findings of the study highlight that ceramic art is a significant aspect of contemporary Chinese arts education in its universities, which has the dual objective of develop artistic skills of students and also enhance the edu-communicative function of the ceramic art representing the Chinese culture. The findings revealed that ceramic art not only caried aesthetic elements but it was also a prime source of creating aesthetic pleasure as it played the role of aesthetic medium in education. It was evident that due to its aesthetic purpose, ceramic art demonstrated the notions of 'Art for Art's sake'. It has also been found that digital tools play a significant role in bringing innovation in ceramic art education and spread the skills of clay-art. The findings of this paper have numerous implications for the personnel and practitioners of Chinese fine arts institutions especially those who have curriculum related to ceramic art. [ABSTRACT FROM AUTHOR]

Paternal involvement in household and childcare has increased over the past century, but global studies show that most mothers still remain responsible for a significantly higher proportion of total household care and childcare. Moreover, the COVID-19 pandemic has further negatively impacted mothers, who take on the majority of childcare responsibilities. However, scholars agree that a father's devotion to playing with the child fosters the child's cognitive, linguistic, and socio-emotional development. Acknowledging and approaching art as a dynamic and integrated play, this qualitative case study investigates five South Korean father-child dyads and their interactions while playing with art materials. The participants engaged in three thematic art sessions designed by the author. Data collection involved audio and video recordings of each session, surveys of adult participants, and photos of finished artworks. The study found that fathers' varied educational backgrounds and perceptions of their abilities to facilitate arts learning influenced their confidence in teaching the arts at home. Furthermore, having a theme and prompting questions assisted the fathers to facilitate more focused art play. The art play also provided the father-child dyads with arts learning opportunities, including learning and distinguishing colors and recognizing stereotypes associated with colors. Moreover, one-on-one interaction between the dyads helped them build a more intimate bond. This study presents specific examples of art activities and participants' responses, which might offer insights and educational implications for paternal involvement in child play and thematic art play at home. [ABSTRACT FROM AUTHOR]

This study investigated the relationship between art creation and brain function using functional near-infrared spectroscopy (fNIRS) via a portable NIRSIT device, focusing on the frontal lobe's oxygen saturation changes during art activities. Authorized by the Institutional Review Board of Seoul Women's University, the research involved 26 healthy participants aged 20 to 29, without prior mental, medical, or substance use issues. They engaged in four art tasks, separated by rest periods, to monitor pre- and post-task brain activity through fNIRS scans. The research unfolded in two phases: initially, it analyzed brain activity based on the Expressive Therapies Continuum (ETC) framework, comparing different art mediums; next, it then examined differences between drawing on paper and on a digital tablet. Findings indicated unique activation patterns in various brain regions—including the Ventrolateral Prefrontal Cortex (VLPFC), Orbitofrontal Cortex (OFC), Dorsolateral Prefrontal Cortexes (DLPFC), and the parietal cortex—highlighting a notable increase in the Left Frontopolar and Orbitofrontal Cortexes during paper drawing compared to tablet drawing. These results provide insights into how different art mediums influence neural activation, particularly showing enhanced activity in regions linked to empathy and feedback in paper-based tasks. It clearly suggests that different art materials significantly influence varying brain region activation, highlighting the importance of art medium and art-making in art therapy in enhancing cognitive and emotional functions. By examining changes in frontal lobe oxygen saturation via diverse art activities grounded in the ETC framework, this study contributes to understanding art therapy's neurological impact on cognitive and emotional functions. It offers evidence-based guidance for art therapists on selecting materials that meet therapeutic objectives. The study's limitations include a small sample size that may affect the generalizability of the findings and the exclusive use of NIRSIT focusing on the frontal cortex, potentially neglecting the involvement of other brain regions like the temporal and parietal cortexes in art activities. Future research should therefore consider expanding the sample size and employing comprehensive neuroimaging techniques. • Relationship between art tasks and brain function. • fNIRS analysis with 26 participants aged 20–29. • Brain activation observed in VLPFC, OFC, DLPFC, parietal cortex. • Greater brain activation in paper-based drawing vs. digital-tablet-based drawing. • Neural patterns emphasize material's role in brain activation. [ABSTRACT FROM AUTHOR]

This study investigates the intersection of bioart and posthumanistic perspectives through the innovative use of reindeer by-products, specifically reindeer blood, as a medium for artistic expression. Utilising an Arts-Based Research (ABR) approach, the research investigates the methodological, ethical, and cultural dimensions of integrating waste materials into creative practices. The project repurposes reindeer blood, an often-overlooked by-product of reindeer herding, to provoke ethical discussions on sustainability and cultural sensitivity within the arts. Experiments in the BioARTech laboratory transform reindeer blood into air-dried pigment, which is then incorporated into glassblowing and surface pattern design. These innovative techniques challenge traditional boundaries of artistic materials and prompt deeper reflections on human-nature relationships. Exhibitions across Finland highlight the ethical application of this unique Northern material, highlighting its cultural significance and promoting a reimagining of our interconnectedness with the natural world. Ultimately the study expands the artistic repertoire and advocates for more harmonious and sustainable futures through pioneering bioart practices. [ABSTRACT FROM AUTHOR]

Conservation science, also known as heritage science or cultural heritage science, is a field that uses analytical methods to study art, archaeology, architecture, and archives. It combines concepts from various technical fields such as anthropology, chemistry, physics, and computer science. Advances in analytical methods have allowed for non-destructive analysis of art objects, the development of portable equipment for in-situ analysis, and collaborations with scientists from other fields. Challenges in the field include addressing global issues like climate change and sustainable tourism, integrating artificial intelligence into analytical techniques, and finding sustainable solutions for the display and storage of artwork. Collaboration and access to state-of-the-art instrumentation are crucial in cultural heritage research. This special issue aims to highlight recent advances in analytical methods for cultural heritage and address gaps in the field. [Extracted from the article]

Reflectance imaging spectroscopy (RIS) is invaluable in mapping and identifying artists' materials in paintings. The analysis of the RIS image cube first involves classifying the cube into spatial regions, each having a unique reflectance spectrum (endmember). Second, endmember spectra are analyzed for spectral features useful to identify the pigments present to create labeled classes. The analysis process for paintings remains semi-automated because of the complex diffuse reflectance spectra due to the use of intimate pigment mixtures and optically thin paint layers by the artist. As a result, even when a group of related paintings are analyzed, each RIS cube is analyzed individually, which is time consuming. There is a need for new approaches to more efficiently analyze RIS cubes of related paintings to address the growing interest in the study of related paintings within a group of artists or artistic schools. This work builds upon prior investigations of 1-D spectral convolutional neural networks (CNNs) to address this need in two ways. First, an expanded training set was used—ten illuminated manuscripts created by artists stylistically grouped under the notname "Master of the Cypresses" (15th century Seville, Spain). Second, two 1-D CNN models were trained from the RIS cubes: reflectance and the first derivative. The results showed that the first derivative-trained CNN generally performed better than the reflectance-trained CNN in creating accurate labeled material maps for these illuminated manuscripts. [ABSTRACT FROM AUTHOR]

This document is an introduction to a special issue of the journal Arts, focusing on topical abstraction in contemporary sculpture. The essays in this issue explore how artists in the United States and Europe since the 1960s have used sculptural abstraction to address social issues without conforming to traditional figuration. The essays discuss the use of abstraction to challenge social configurations related to class, gender, and race, and highlight the political and social implications of sculptural abstraction. The document also mentions several museum exhibitions that have contributed to reevaluations of topical sculptural abstraction. The essays in this special issue aim to expand the understanding of the political, social, and cultural aspects of abstraction in sculpture by examining issues of materiality and process. The authors argue that contemporary sculptors have used materials and methods in inventive and experimental ways to engage with social, historical, environmental, and aesthetic contexts. The document also acknowledges that abstraction still faces biases and is often under-studied as a political vehicle. The essays included in this special issue examine the work of specific artists, such as Mel Edwards, Lynda Benglis, Beverly Buchanan, Senga Nengudi, Betye Saar, Barbara Chase-Riboud, Simone Leigh, and Veronica Ryan, and explore how their use of abstraction intersects with issues of race, gender, and temporality. The authors argue that these artists have leveraged the materiality of sculptural abstraction to challenge mainstream values and offer new possibilities for inhabiting the world. [Extracted from the article]

The integration of NFT technology into the art market utilizes a two-pronged approach of decentralization and increased accessibility as an equalizing answer to rectify gender discrepancies in the contemporary art world. This is not the first time that technology as an art medium has been used as a feminist tool to disrupt the previously established status quo. Through the exploration of the 1990's Cyberfeminist Net Art Movement, this article will discuss how female-identifying artists employ technological characteristics such as anonymity and online gender masquerading to answer the exclusionary issues affecting their art practices. Furthermore, it will examine how NFTs work to build upon the previously established revolutionary movement of the 1990s to evolve the contemporary art practices of feminist artists. Additionally, this article will address the impacts of this new digital landscape, where anonymity is preferred and algorithmic ordering is non-existent, as a more pragmatic way of creating, selling, and buying art. Finally, this article will examine how the integration of blockchain technology—entirely machine-operated and free from human manipulation—aims to eliminate the human biases of identifying factors such as gender that can be concealed or fabricated when operating in an online sphere. [ABSTRACT FROM AUTHOR]

Traditional digital media art and design systems take a long time to run and cannot handle a large number of objects simultaneously. Therefore, the author proposes a digital media art and design method based on ChatGPT technology. ChatGPT technology is an important part of networking. Prepare to provide conference support for various applications such as customer service, personal assistant, robotic interview, and so on. ChatGPT can not only answer the question that is set, but also solve the question openly. The comprehensiveness and intelligence of ChatGPT have attracted widespread attention since its launch. TThe hardware system adopts dual core TMS320C6657 and DDR3Thel1333 series processors as the core circuit, together with high speed external storage, to expand the image transmission line of multi-data; System software uses module architecture to design image modules, video modules, and voice modules, all of which are integrated into the core of the system as modules. In this experiment, 10 images were transferred and the running time was tested. Experimental results showed that, the traditional digital media art and design system had three errors, which took more time to run. [ABSTRACT FROM AUTHOR]