This article explores the divergence between the practice and theory of technology as observed through an interdisciplinary free-improvisation workshop that critically engaged with (digital) technology Bruno Latour’s “technical mode of existence” proposes an intriguing interpretation of this differentiation. What is it that we experience when we engage with “digital art”? How does this bear on conceptualizations of technologies? The “fictional” and “reference” modes of existence further aid in understanding the digital as it pervades culture and media. Using examples from music, visual arts, and observations from the workshop, dystopian visions of technology are disentangled and reconfigured. Embodied agency and kinesthesia play a major role in this process.

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