An independent research space concerning contemporary issues. This is neither a formal academic publication nor an opinion column: it is analytical work supported by data on topics I consider relevant and worthy of rigorous examination, even when they fall outside specialised academic circuits. Open to co-authorship. Proposals to: hola@juanesteban.art
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Entries: 246
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Social media and visual education: what adolescents are taught to look at
Social networks do not merely distribute images; they organise, measure and reward specific formats. This does not create a singular aesthetic, yet it influences their circulation.
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Youth in museums: genuine participation or decorative consultation
Responding to a survey, exhibiting a project and deciding on the programme are sometimes termed participation. They do not confer the same level of authority.
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Artificial intelligence in the art classroom: what a child learns when generating images
Generating an image with AI may teach one to describe, compare, select and edit. It does not, of itself, teach composition, materiality or observation.
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Apps for classroom creation: data, accounts, and the rights of minors
An application for classroom creation does not arrive in isolation; it brings an account, terms and conditions, storage and regulations concerning student data and work.
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Nine cents in every hundred euros
In June, the three major European institutions committed to placing culture at the heart of the Union. In the budget proposal for 2028-2034, the specific cultural branch accounts for 0.09%.
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Acquiring digital art: what should enter the collection beyond the visible work
The visible file is insufficient for the acquisition of a digital work. The procedures of the Met and the cases of the Tate and the Whitney demonstrate what must be documented prior to accepting the work.
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Inheriting digital art: what happens to works, accounts and archives
Access to an account does not transfer copyright, and inheriting rights does not recover a lost file. Two precedents illustrate why digital legacy must be prepared during one's lifetime.
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Inventorying digital art: when a work does not fit into a single location
A digital work may simultaneously reside in a collection, on a server, on a webpage and in a repository. The Tate adapted its system to ensure these locations were visible and auditable.
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Documenting technological art: who can care for a work when the installer is absent
An installation dependent upon the memory of a single individual is also a work with concentrated care. Three precedents demonstrate how to render decisions and limitations transferable.
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Declaring the use of artificial intelligence in art: what the public should know
Los casos de Jason Allen y Boris Eldagsen mostraron dos conflictos distintos. La obligación europea añade otra capa: informar sin impedir la exhibición de la obra.