The past decade has seen a rise in hysteria regarding digital art. As the scope of what constitutes new media creation continues to widen, it is tempting to be swept into the anxiety around world domination by advancing technologies such as AI – yet the future of this art genre remains inextricable from streams of fashion, technology and, most cloyingly, its saturation of Sino-Oriental aesthetics.
The cross-sections of technology, futurism and fashion recall many entities. Such include Donna Haraway’s cyborg bodies, projections of Hajime Sorayama in avant garde couture, the full spectrum of neo-noir grading in movie stills from Lost in Translation, amid other ephemera that loosely assign themselves – at least according to the Western imagination – under the East Asian wing of digital art.
