Art and technology as tools for creating inclusive and sharing spaces

Digital Art was born at the turn of the 1960s and 1970s within science and technology laboratories at universities in the United States, and then came to Europe. It is during these years of experimentation that the movement evolved into the multiple fields of practice and languages that still characterize it today. Despite more than fifty years of activity and research, Digital Art only began to attract attention from a wider audience in the new millennium, moving out of a niche context (Galansino & Tabacchi, 2022). The event that led to the change and the (re)discovery of Digital Art was in fact a Christie's auction, when Mike Winkelmann's work made of NFTs was sold for $69.3 million. It was only on March 11, 2021 (Galansino & Tabacchi, 2022). As is happens very often with contemporary art, if an artwork is sold by an auction house, such as Christie's and Sotheby's, which carry the status, quality, and potential buyers, then the artwork obtains added value and extensive media coverage (Thompson, 2017). In recent years, the art world has shifted its focus towards Digital Art resulting in a significant increase in the sales of NFTs works, the creation of the metaverse, and other related developments. Using digital technologies and interactive media, the phenomenon has challenged traditional concepts of artwork, artist, and audience (Paul, 2015) and, not least, the definition of appropriate spaces for the production and enjoyment of works. In recent decades, Digital Art has undergone significant changes due to the use of constantly evolving tools and technologies. It is defined as fluid art, constantly changing precisely because the technologies and society in which it operates are also constantly changing (Paul, 2015). Digital artists have always searched and created art in "wrong places”, outside the art world, but rather on the web, in laboratories, in scientific and technological research facilities (Quaranta, 2010). As the place of investigation changes, the artist's tools, stimuli, means of production inevitably change. Additionally, the places of creation, preservation and display of digital works may change as well. Thanks to the powerful connectivity of the Internet, artists are now able to create and foster genuine communities by way of networking. This often involves a system where the artwork can be exchanged freely, without the need for monetary transactions. These exchanges are typically facilitated through websites, email lists, and other alternative spaces. This new paradigm marks a departure from traditional art sales practices and enables artists to connect with each other and a wider audience in a more open, collaborative, and inclusive way. Digital Art was born with the idea of being characterized by free and accessible sharing to everyone. This characteristic represents the anti-institutional spirit of the internet. However, it is worth noting that this spirit is ephemeral and reflects the aesthetics and technologies of the internet itself (Tribe & Jana, 2006). It raises the question of what has caused the recent surge of interest in the digital world among the artistic and cultural communities. This growth has resulted in the establishment of more research and dissemination centers, festivals, and museums. Over the past few years, there has been a significant shift in the art world, with many traditional institutions embracing the digital medium. As a result, numerous art galleries have emerged, serving as a bridge between the public and digital art. These galleries aim to showcase works that explore the intersection of technology and art, often featuring interactive installations, digital sculptures, and immersive experiences. The rise of these galleries has enabled artists working in digital media to reach a wider audience, while also providing visitors with an opportunity to engage with cutting-edge artworks that challenge their perceptions and expand their horizons. This paper aims to provide a comprehensive overview of the contemporary artistic and digital landscape as it is about the physical spaces where works of art are created, produced, and shared. Mapping research centers, production facilities, and other community hubs in Europe, the purpose is to explore how physical spaces can aid in the design and execution of projects, as well as foster community building while engaging with the local area and various user groups, such as Young Adults. The goal is to create inclusive spaces that promote cultural participation, becoming an intersection between creativity, art, innovation, and technology for the benefit of the local community. As part of the research, a series of interviews were conducted with artists, curators, and professionals who specialize in the field of digital culture. The purpose of these interviews is to gain a comprehensive understanding of the various approaches and needs that arise during the different stages of conception, prototyping, and creation of Digital Art. The contribution proposes an analysis of the contemporary digital art scene, starting from historical research that can illustrate the key moments of Digital Art, from its inception to the very recent developments. Helped by the mapping of major international research and dissemination centers, the aim is to better understand how artists and their works are involved within these institutions with the goal of establishing common guidelines that can help in the enjoyment of internal spaces dedicated to the creation of their art. The proposal aims to investigate new types of spaces related to the creation of digital art with particular attention to the predisposition of these places to transform into inclusive and sharing spaces by going to create on the one hand a virtual and global network, but, using space, also a physical and local platform, stimulating experimentation, interaction and continuous updating. A double level of community between real and virtual that can stimulate the public both interest in art and in science and technology. To support this research, interviews will be conducted with artists, curators, and professionals working in the field of digital culture.