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class="mf-section-0" id="mf-section-0"><p><b>Digital Live Art</b> <sup id="cite_ref-DLA_1-0" class="reference"><a href="#cite_note-DLA-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> is the intersection of <a href="/wiki/Live_Art_(art_form)" class="mw-redirect" title="Live Art (art form)">Live Art (art form)</a>, <a href="/wiki/Computing" title="Computing">Computing</a> and <a href="/wiki/Human_Computer_Interaction" class="mw-redirect" title="Human Computer Interaction">Human Computer Interaction</a> (HCI). It is used to describe live performance which is computer mediated - an orchestrated, temporal witnessed event occurring for any length of time and in any place using technological means. Digital Live Art borrows the methods, tools and theories from HCI to help inform and analyze the design and evaluation of Digital Live Art experiences. </p> <div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none"><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div> <ul> <li class="toclevel-1 tocsection-1"><a href="#Theory"><span class="tocnumber">1</span> <span class="toctext">Theory</span></a></li> <li class="toclevel-1 tocsection-2"><a href="#Method_and_Tools"><span class="tocnumber">2</span> <span class="toctext">Method and Tools</span></a> <ul> <li class="toclevel-2 tocsection-3"><a href="#Performance_Triad_Model"><span class="tocnumber">2.1</span> <span class="toctext">Performance Triad Model</span></a></li> <li class="toclevel-2 tocsection-4"><a href="#Formal_Method"><span class="tocnumber">2.2</span> <span class="toctext">Formal Method</span></a></li> </ul> </li> <li class="toclevel-1 tocsection-5"><a href="#Key_People/Groups"><span class="tocnumber">3</span> <span class="toctext">Key People/Groups</span></a></li> <li class="toclevel-1 tocsection-6"><a href="#See_also"><span class="tocnumber">4</span> <span class="toctext">See also</span></a></li> <li class="toclevel-1 tocsection-7"><a href="#References"><span class="tocnumber">5</span> <span class="toctext">References</span></a></li> </ul> </div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(1)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Theory">Theory</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Digital_Live_Art&action=edit&section=1" title="Edit section: Theory" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-1 collapsible-block" id="mf-section-1"> <p>Central to the understanding of Digital Live Art is the concept of performance <a href="/wiki/Framing_(social_sciences)" title="Framing (social sciences)">framing (social sciences)</a>. First identified by <a href="/wiki/Gregory_Bateson" title="Gregory Bateson">Gregory Bateson</a>,<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> the performance frame is described as a cognitive context where all the rules of behavior, symbols, and their interpretations are bound within a particular activity within its own structure. The concept has since been used extensively in ethnography by <a href="/wiki/Erving_Goffman" title="Erving Goffman">Erving Goffman</a> in his discussions of face to face encounters in the everyday, in discourse structures;<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> in theatrical and ritual events;<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> sporting events and festivals;<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> and trance phenomena <sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> (see:<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup>). </p><p>Goffman's work uses the concept of performance frame to broadly mean a constructed context within the limits of which individual human agency and social interaction takes place. For example, a theatrical frame,<sup id="cite_ref-Goffman_9-0" class="reference"><a href="#cite_note-Goffman-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> pp. 124–155) involves the construction of a higher-level frame on top of a ‘primary framework’, i.e., the reality in which the fantasy takes place. In this example, actors assume a character, audiences suspend disbelief and events have their meaning transformed (e.g., compare the use of a mobile phone in public with its use in a theatre). Additionally, framings are temporal, meaning that they have specific beginning and endings. While many theorists argue that all social interaction may be seen from a dramaturgical perspective, meaning all everyday social interaction becomes performance in some sense,<sup id="cite_ref-Goffman_9-1" class="reference"><a href="#cite_note-Goffman-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Digital Live Art theorists often deliberately align their work with <a href="/wiki/Richard_Schechner" title="Richard Schechner">Richard Schechner</a>,<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> narrowing their analysis to cover more stabilized ‘established’ forms of performance so that performance framing is defined as an activity done within the intended frame ‘by an individual or group’ who have some established knowledge about the frame, and are ‘in the presence of and for another individual or group’.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Performance framings then, are intentional, temporal and for an audience. </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(2)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Method_and_Tools">Method and Tools</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Digital_Live_Art&action=edit&section=2" title="Edit section: Method and Tools" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-2 collapsible-block" id="mf-section-2"> <p>The goal of interaction in Digital Live Art goes beyond that of traditional HCI methods and theory which focus on usability, functionality and efficiency. HCI and <a href="/wiki/CSCW" class="mw-redirect" title="CSCW">CSCW</a> models often focus on workplace activities and their tasks, artefacts and goals. This research often leads to a better understanding of how to increase efficiency in the workplace by providing more efficient and usable interfaces. For example, one could conduct <a href="/wiki/Usability_testing" title="Usability testing">usability testing</a> or <a href="/wiki/Task_analysis" title="Task analysis">task analysis</a> of how a DJ uses his DJ decks and one could then use this information to design a more efficient system. </p><p>However, traditional HCI models tell us little about how the performer-audience relationship develops as a result of users wittingness to interact with the system. The intention with Digital Live Art is not to make more "usable" systems but rather to allow for "participatory transitions"<sup id="cite_ref-DLA_1-1" class="reference"><a href="#cite_note-DLA-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> - transitions between "witting and unwitting",<sup id="cite_ref-DLA_1-2" class="reference"><a href="#cite_note-DLA-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> between observation and participation, between participation and performance. Since the goal with Digital Live Art systems is to "mediate wittingness"<sup id="cite_ref-DLA_1-3" class="reference"><a href="#cite_note-DLA-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> rather than task-focused interaction, the application of many HCI models, frameworks and methods become insufficient for analyzing and evaluating Digital Live Art. </p> <div class="mw-heading mw-heading3"><h3 id="Performance_Triad_Model">Performance Triad Model</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Digital_Live_Art&action=edit&section=3" title="Edit section: Performance Triad Model" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p>Sheridan first introduced the <b>Performance Triad Model</b> <sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> for analyzing "tripartite interaction" - interaction between observers, participants and performers. In the Performance Triad Model, tripartite interaction where technology binds tripartite interaction to context and environment. Reeves et al.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> draws a distinction between a performer and a spectator and how their transitioning relationship as mediated by the interface. </p> <div class="mw-heading mw-heading3"><h3 id="Formal_Method">Formal Method</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Digital_Live_Art&action=edit&section=4" title="Edit section: Formal Method" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p>Dix and Sheridan<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> introduced a <a href="/wiki/Formal_method" class="mw-redirect" title="Formal method">formal method</a> for analyzing "performative interaction"<sup id="cite_ref-DLA_1-4" class="reference"><a href="#cite_note-DLA-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> in Digital Live Art. This formal method provides a mathematical technique for deconstructing interaction between witting and unwitting bystanders and observers, participants in the performance and the performers themselves. The work attempts to formalise some of the basic attributes of performative interaction against a background of sociological analysis in order to better understand how computer interfaces may support performance. This work shows how this generic formalisation can be used in the deconstruction, analysis and understanding of performative action and more broadly in live performance. </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(3)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Key_People/Groups"><span id="Key_People.2FGroups"></span>Key People/Groups</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Digital_Live_Art&action=edit&section=5" title="Edit section: Key People/Groups" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-3 collapsible-block" id="mf-section-3"> <p><a rel="nofollow" class="external text" href="http://www.bigdoginteractive.com">BigDog Interactive</a> </p><p><a href="/wiki/Blast_Theory" title="Blast Theory">Blast Theory</a> </p><p><a href="/wiki/Lady_Gaga" title="Lady Gaga">Lady Gaga</a> </p><p><a rel="nofollow" class="external text" href="http://www.mrl.nott.ac.uk/">Mixed Reality Lab</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20131115040246/http://www.mrl.nott.ac.uk/">Archived</a> 2013-11-15 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> </p><p><a rel="nofollow" class="external text" href="http://www.thepooch.com">.:thePooch:.</a> </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(4)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="See_also">See also</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Digital_Live_Art&action=edit&section=6" title="Edit section: See also" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-4 collapsible-block" id="mf-section-4"> <ul><li><a href="/wiki/Fine_art" title="Fine art">Fine art</a></li> <li><a href="/wiki/Visual_arts" title="Visual arts">Visual arts</a></li> <li><a href="/wiki/Performance_art" title="Performance art">Performance art</a></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(5)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="References">References</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Digital_Live_Art&action=edit&section=7" title="Edit section: References" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-5 collapsible-block" id="mf-section-5"> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-DLA-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-DLA_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-DLA_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-DLA_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-DLA_1-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-DLA_1-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text">Sheridan, J.G. (2006). "Digital Live Art: Mediating Wittingness in Playful Arenas". PhD Thesis. University of Lancaster: Lancaster.</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Bateson, G. (1955). A Theory of Play and Fantasy. Psychiatric research reports, 2, 39-51.</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Tannen, D. Framing in Conversational Structures. Cambridge University Press, Cambridge, 1993.</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Schechner, R. The Future of Ritual, Writings on Culture and Performance. Routledge, New York, 1993.</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Turner, V. From Ritual to Theatre: The Human Seriousness of Play. PAJ Publications, New York, 1982.</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">MacAloon, J. editor. Rite, Drama, Festival, Spectacle. Institute for the Study of Human Issues, 1984.</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">d’Aquili, E., Laughlin, C. D., and McMannus, J. editors. The Spectrum of Ritual jacks . Columbia University Press, 1979.</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Rush, M. Security art. Journal of Performance and Art - PAJ, 26(1):113–115, January 2004.</span> </li> <li id="cite_note-Goffman-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-Goffman_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Goffman_9-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">E. Goffman. Frame Analysis: An Essay on the Organization of Experience. Harper and Row, 1974.</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">R. Schechner. Performance Theory. Routledge, 1988</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Benford, S., Crabtree, A., Reeves, S., Flintham, M., Drozd, A., Sheridan, J.G., Dix, A. The frame of the game: Blurring the boundary between fiction and reality in mobile experiences. In Proceedings of SIGCHI Conference on Human Factors in Computing Systems (CHI), April 2006</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Sheridan, J.G., Dix, A., Lock, S. and Bayliss, A. (2004) Understanding Interaction in Ubiquitous Guerrilla Performances in Playful Arenas. S. In Fincher, P. Markopolous, D. Moore, & R. Ruddle (Eds.): In People and Computers XVIII-Design for Life: 18th British HCI Group Annual Conference, pp. 3-17, Springer-Verlag, 6–10 September, Leeds, UK. <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-85233-900-4" title="Special:BookSources/1-85233-900-4">1-85233-900-4</a>.</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">S. Reeves, S. Benford, C. O’Malley, and M. Fraser. Designing the spectator experience. In Proceedings of SIGCHI Conference on Human Factors in Computing Systems (CHI), April 2005.</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Dix, A., Sheridan, J.G., Reeves, S., Benford, S. and O'Malley, C. (2005) Formalising Performative Interaction. In Proceedings of the 12th International Workshop on Design, Specification and Verification of Interactive Systems (DSVIS), pp. 15-25, Springer Lecture Notes in Computer Science, 13–15 July, Newcastle, UK.</span> </li> </ol></div></div>    </section></div> <noscript><img src="https://login.m.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1&mobile=1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Digital_Live_Art&oldid=1201748221">https://en.wikipedia.org/w/index.php?title=Digital_Live_Art&oldid=1201748221</a>"</div></div> </div> <div class="post-content" id="page-secondary-actions"> </div> </main> <footer class="mw-footer minerva-footer" role="contentinfo"> <a class="last-modified-bar" href="/w/index.php?title=Digital_Live_Art&action=history"> <div class="post-content last-modified-bar__content"> <span class="minerva-icon minerva-icon-size-medium minerva-icon--modified-history"></span> <span class="last-modified-bar__text modified-enhancement" data-user-name="InternetArchiveBot" data-user-gender="unknown" data-timestamp="1706776099"> <span>Last edited on 1 February 2024, at 08:28</span> </span> <span class="minerva-icon minerva-icon-size-small minerva-icon--expand"></span> </div> </a> <div class="post-content footer-content"> <div id='mw-data-after-content'> <div class="read-more-container"></div> </div> <div id="p-lang"> <h4>Languages</h4> <section> <ul id="p-variants" class="minerva-languages"></ul> <ul class="minerva-languages"><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D9%87%D9%86%D8%B1_%D8%B2%D9%86%D8%AF%D9%87_%D8%AF%DB%8C%D8%AC%DB%8C%D8%AA%D8%A7%D9%84" title="هنر زنده دیجیتال – Persian" lang="fa" hreflang="fa" data-title="هنر زنده دیجیتال" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li></ul> </section> </div> <div class="minerva-footer-logo"><img src="/static/images/mobile/copyright/wikipedia-wordmark-en.svg" alt="Wikipedia" width="120" height="18" style="width: 7.5em; 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