This month's Byte-Sized Culture is a Black History highlight spotlighting five Black American artists — Martine Syms, Stephanie Dinkins, Rashaad Newsome, Sondra Perry, and Shaylin Wallace — who are pushing the boundaries of contemporary art through technology. Each artist uses a distinct set of digital tools, from AI systems and algorithmic video to 3D modeling, NFTs, and humanoid robotics, to examine how race, identity, and power are reflected and distorted within those technologies.
In Part II, this part of the study moves from industry context to empirical analysis, translating strategic questions into evidence-based insights drawn from primary research. While Part I established the historical and market foundations of Games as a Service (GaaS) and transmedia adaptation and framed the challenges of player retention, monetization, and franchise longevity, Part II examines how these dynamics operate in practice. Using findings from a 1,159-response U.S. consumer survey, nine industry interviews with developers, influencers, and experiential professionals, as well as supporting secondary research, this section analyzes player behavior perceptions and expectations. Part II identifies the mechanisms that drive sustained engagement and trust in live service ecosystems, evaluates the effectiveness of current GaaS and transmedia strategies, and surfaces actionable insights that inform the strategic recommendations presented in the final chapter.
This study provides a foundational analysis of how live-service game models and transmedia strategies are reshaping the contemporary video game industry, with a particular focus on Games as a Service (GaaS), player engagement, and franchise longevity. As gaming continues to outpace film and television as the world’s most lucrative entertainment sector, publishers face growing pressure to sustain player communities, balance monetization with satisfaction, and extend intellectual property beyond the game itself. Part 1 examines the historical evolution of GaaS and game adaptations, situating SEGA’s legacy within today’s competitive landscape. Drawing on existing literature, industry reports, and market context, this section frames the central research questions and methodological approach that guide the study. By establishing the strategic challenges and opportunities facing live-service games and transmedia franchises, Part 1 lays the conceptual groundwork for the data-driven analysis and recommendations presented in Part 2.
This article explores the evolution of murals from ancient cave paintings to modern digital advocacy, highlighting their role as a vital tool for social resistance and cultural preservation. Through this lens, the public wall is revealed as a primary battleground for community identity and the right to protest in the 21st century.
As immersive technologies merge with AI-driven platforms, the boundaries between physical and digital life are rapidly dissolving - bringing new ethical, legal, and safety challenges into focus. This article examines the history of virtual harm in online and XR environments, from early text-based worlds to contemporary VR gaming and performance spaces, and argues for a privacy-first framework as the foundation for immersive safety. By analyzing legal gaps, platform accountability, and global policy efforts, it proposes digital “guardrails” that prioritize user dignity, data protection, and well-being as core design principles rather than afterthoughts.
This month's Byte-Sized Culture is a Black History highlight spotlighting five Black American artists — Martine Syms, Stephanie Dinkins, Rashaad Newsome, Sondra Perry, and Shaylin Wallace — who are pushing the boundaries of contemporary art through technology. Each artist uses a distinct set of digital tools, from AI systems and algorithmic video to 3D modeling, NFTs, and humanoid robotics, to examine how race, identity, and power are reflected and distorted within those technologies.
From algorithmic computation to human-machine collaboration, the Fourth Industrial Revolution is reshaping how society produces knowledge and imagines the future. AI-powered robots are now appearing not only in factories but also in art studios, galleries, and museums, signaling a crucial cultural shift, transforming technology from a tool of production to an active participant in artistic creation and curatorial practice.
This article explores the dual applications of AI-powered robots in contemporary art and museum settings, analyzing how they function as creative agents and cultural ambassadors in diverse global contexts. It argues that these intelligent systems challenge traditional concepts of creativity while redefining how cultural institutions think about the relationship between humans and machines in the new era.
The history of robots in art can be traced to post-war experiments that blurred boundaries between engineering and aesthetics. In 1948, British neurophysiologist William Grey Walter built Elmer and Elsie - two “mechanical tortoises.” They could move toward light and avoid obstacles using only a few simple circuits. Although they were not complex by modern standards, these early “mechanical tortoises” showed that even simple machines could behave in surprising and creative ways.
By the late 20th century, artists began using robots not merely as curiosities but as expressive tools. In 1999, Sony’s AIBO, the first consumer-grade robotic dog, entered both homes and galleries, inspiring discussions about empathy and artificial emotion.
Figure 1: Sony AIBO and Human–Robot Affection. Source: Ieee Spectrum
In the 21st century, advances in artificial intelligence, computer vision, and multimodal perception have transformed robots from pre-programmed devices into learning entities capable of perception and adaptation. This evolution has paved the way for the emergence of AI-powered robots in studios and museums.
AI-powered robots are emerging across virtually every sector of modern life. In healthcare, they assist surgeons with precision operations and provide companionship to elderly patients suffering from dementia. In manufacturing, “more than half a million industrial robots were installed in factories around the world in 2022”, assembling products with superhuman accuracy and efficiency. In hospitality, service robots deliver room service items, guide guests, and communicate in multiple languages across hotels globally. In the performing arts, robotic dancers share stages with human choreographers, while robotic musicians perform in orchestras, expanding the boundaries of live performance.
Figure 2: Global Robotics Industry Overview (2025). Source: Startus Insights
However, within this diverse range of applications, robots in the visual arts ecosystem occupy a unique and interesting niche. Unlike purely functional robots designed to optimize efficiency or safety, robots deployed in exhibitions and museums encounter fundamental questions about human creativity, aesthetic judgment, and cultural authority. When a robot paints, sculpts, or guides visitors through an exhibition, it enters a realm traditionally reserved for humans: imagination, interpretation, and emotional empathy.
Therefore, this research focuses specifically on public-facing robots in visual arts contexts: those that interact directly with audiences as creators (generating artworks) or cultural ambassadors (mediating museum experiences). In contemporary art, these robots challenge fundamental assumptions about authorship and artistic agency - can machines truly "create," or do they simply execute sophisticated algorithms? Meanwhile, in museum settings, robots show valuable advantages, like multilingual interpretation, intelligent assistant tour guides, or maintenance and cleaning. While the development of those applications simultaneously raises concerns about workforce displacement and the authenticity of cultural experience, the art world is making technology more accessible, inspiring people to imagine what's next.
The following cases demonstrate how artists and art institutions around the world are navigating these tensions. By examining robots as autonomous partners (Agnieszka Pilat's painting Spot dogs), humanoid artists (Ai-Da), multi-agent systems (CoFRIDA), and museum ambassadors (Ameca in Dubai and AI Docents in Seoul), we can trace how AI-powered systems are reshaping not only what visual art can be, but how we experience and understand it.
Agnieszka Pilat — Machines as Artists
Figure 3: Agnieszka Pilat and Robotic Art Practice. Source: AGNIESZKA PILAT
Polish-American artist Agnieszka Pilat stands at the forefront of exploring robotics as a creative collaborator. Her installation Heterobota at the National Gallery of Victoria featured three Boston Dynamics Spot robots: Basia, Vanya, and Bunny, who lived inside the gallery for four months and autonomously painted canvases.
Pilat calls herself a “propaganda artist for technology,” situating her work within portraiture’s historical tradition. “Historically, portraiture reflects power in society and works around patronage. So I started painting portraits of technology as the new aristocracy,” she explained. Each robot possessed a distinct “personality”: Basia was a serious painter, Vanya was a nurturing guardian, and Bunny was a social media performer who captured attention through her reflection in a mirror. The robots’ paintings - over thirty completed during the residency - represent what Pilat calls “the first primitive language of a new civilization.”
Her project transforms robots from mechanical objects into artistic partners, suggesting that machines can represent creative intention. Pilat positions herself as a "Renaissance teacher" guiding her robot apprentices, redefining the human-machine relationship as one of mentor rather than apprentice. The robot is both an artist and an artistic object, and she questions whether creativity can exist without consciousness.
Ai-Da — The Humanoid Artist
The humanoid robot artist Ai-Da, created in 2019 and named after Ada Lovelace, represents another perspective in machine creativity. Ai-Da uses cameras in her eyes to capture images, translating them into drawings and sculptures via AI algorithms. But Ai-Da is "like an artist surrounded by assistants." Humans' help is essential for the artwork creation process. The human team creates the initial vision, sets up a topic or concept for Ai-Da, and provides the original data, like prompts and images. And sometimes the studio assistants will help with adding paint and texture, and lead the whole direction of the creation.
Figure 4: The Humanoid Robot Artist Being Interviewed. Source: Ai-Darobot
The appearance of Ai-Da challenges the definitions of authorship and authenticity. While early critics noted the involvement of human programmers in her work, newer iterations of Ai-Da operate with increasing autonomy. Her exhibitions make audiences question whether emotion in art must come from a sentient source or whether algorithmic simulation can produce comparable aesthetic responses. Ai-Da functions like both a mirror and a mediator, reflecting human desires to see ourselves in machines that appear capable of feeling.
CoFRIDA - Collaborative Robotic Creativity
At Carnegie Mellon University’s Robotics Institute, a robotic research team has been exploring how AI can enable artistic collaboration. Their first outcome, FRIDA (Framework and Robotics Initiative for Developing Art), released in 2023, was designed as a kind of robotic solo artist. Using a single robot arm, FRIDA could translate human text or image prompts, like “paint a city skyline at sunset,” into expressive brushstrokes on canvas.
Figure 5: CoFRIDA Co-Painting System Overview. Source: CoFRIDA
A year later, the team launched CoFRIDA (Collaborative FRIDA), an upgraded system that expands this concept into a multi-agent framework. Instead of one robot painting alone, multiple FRIDA units and human participants can now collaborate, sharing sensory data and aesthetic decisions in real time. Each robot perceives the movements of its collaborators and adjusts its own behavior accordingly, creating what the team describes as a "dialogue of color and movement." Through this coordinated process, CoFRIDA redefines creativity as a collective practice rather than an individual act. It highlights how human-robot collaboration can go beyond automation, transforming technology into a partner that learns, responds, and creates art alongside humans.
Figure 6: Survey Comparison of CoFRIDA and FRIDA Outputs. Source: CoFRIDA
The museum is applying AI robots in three main areas: educational presentations, visitor interaction, and institutional image promotion. Each application reflects a different perspective on the role of technology in cultural dissemination. The museums are also using robots to guide tours, as interactive exhibit assistants, or for maintenance and cleaning.
Korean National Museum — AI Docent for Education
At the National Museum of Korea, AI docents represent a new educational model, with robots acting as multilingual guides and adapting their explanations based on visitors' responses. Beyond these docents, the museum integrates AI technology throughout its exhibits: AI eyes detect visitors' emotions, and robotic singing bowls combine traditional Korean art with modern engineering, demonstrating how technology can bridge tradition and innovation. The museum's ambitious Robotic Science Museum (RSM) project takes this vision to the extreme, envisioning robots designing, building, and operating the entire museum, positioning automation as the infrastructure for cultural preservation. However, this approach raises crucial questions: When a robotic docent explains a traditional Korean artifact, is it translating culture or transforming it? While robots can speak multiple languages fluently, they lack the embodied cultural knowledge that human docents possess, such as the tacit understanding of cultural context, the life experience that guides interpretation, and the ability to interpret subtle social cues. This gap between information transmission and cultural preservation suggests that while robots may excel at answering objective questions like "what" and "when," they fall short on interpretive questions requiring cultural understanding and experiential judgment, such as "why" and "how."
“The new Robot Science Museum (RSM) which plays a catalytic role in advancing and promoting science, technology, and innovation throughout society is not only going to exhibit robots but actually from design, manufacturing to construction and services robots will be in charge. In other words, RSM will start its ‘first exhibition’ with ‘its own construction’ by robots on site.”
Dubai’s Museum of the Future — The Robot as Exhibit-Performer
In Dubai's Museum of the Future, Ameca exemplifies a different model: the robot as both guide and exhibit-performer. Ameca's hyperrealistic facial expressions and conversational abilities create what curators call an 'immersive technological experience,' yet this fusion of function and spectacle complicates the visitor relationship. Are guests learning from Ameca or learning about Ameca? The robot becomes a medium for information and a message about humanity's technological future. This dual role reflects what media theorist Marshall McLuhan observed: the medium shapes the message as much as the content itself. When museums use humanoid robots as cultural ambassadors, they inevitably communicate values about innovation, progress, and the desirability of human-machine integration. Messages that may overshadow the cultural artifacts the robots are meant to interpret.
The integration of AI-powered robots into art and museum contexts raises concerns about authorship, emotion, and the human role in creativity. In Pilat’s Heterobota, the artist frames herself as a mentor, but the robots’ works still have high market value even without her hands. Similarly, Ai-Da’s growing autonomy challenges whether a machine’s aesthetic output can - or should - be attributed to itself.
In museum contexts, ethical debates shift toward representation and empathy. Visitors often attribute emotional qualities to humanoid robots, responding to their gestures and voices as if they were sentient. Such reactions reveal what theorists call the empathy paradox: humans empathize with artificial entities while denying them moral standing. The museum robot thus becomes a test case for contemporary humanism - how far our emotional imagination extends toward nonhuman agents.
From the practices of contemporary artists to the galleries of major museums, AI-powered robots have become critical players in the cultural ecosystem. Among these diverse contexts, robots do not replace humans but rather reveal what it means to be human - reflecting our desire for connection, our fascination with technology, and our anxieties about authenticity.
Creativity is relational, empathy is programmable, and art - once the exclusive domain of the human imagination - is becoming a shared pursuit of organic thought and artificial intelligence.
In this evolving landscape, AI-powered robots are not merely tools or performers but rather mediators of creativity and culture, shaping a new era where the boundaries between artist, audience, and algorithm are increasingly blurred.
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As technology continues to reshape the arts and entertainment landscape, our readers and listeners have shown a clear appetite for understanding these transformations. From AI's role in creative processes to the evolution of virtual reality and streaming, this year's most popular content reveals the questions on everyone's minds.
This article explores the rise of virtual production (VP) and its impact on contemporary filmmaking through the use of large-scale LED volumes that merge physical sets with real-time digital environments. Using high-profile productions such as The Mandalorian and 1899 as case studies, it examines how VP reshapes creative workflows across departments, redistributes labor rather than eliminating it, and demands new hybrid skill sets from designers, location managers, and technicians. The piece also addresses the role of labor unions and training programs in adapting to emerging technologies, alongside the economic challenges of scalability, access, and high upfront costs. Ultimately, the article positions virtual production as a transformative - yet uneven - evolution in the entertainment industry, emphasizing the need for equitable training and infrastructure as VP becomes a lasting mode of production.
This article explores how extended reality (XR) - including augmented, mixed, and virtual reality - is reshaping acting training by layering immersive technologies onto long-established methods like Stanislavski-based technique and the Method. Drawing on examples from Basrah to Juilliard and Odin Teatret, the piece shows how XR can deepen character work, expand dramaturgical research, and personalize feedback through data-driven simulations. At the same time, it raises urgent legal, ethical, and social questions around biometric data, FERPA and HIPAA protections, digital Blackface, and harassment in virtual spaces. Rather than treating XR as a magic solution, the article argues that thoughtful pedagogy, clear institutional policies, and equity-minded design are essential if these tools are to support - not replace - human-centered theatre education.
Did you catch this month’s headlines in tech and the arts? Advancements in technology make new opportunities for creators and consumers alike. Policy to support transparency in device repair and use of AI may help users make informed decisions. Meanwhile, a landmark Google antitrust ruling supports competition in the search engine market.
Researchers conducted surveys and industry expert interviews to understand current and future consumer demand for AR, VR and Metaverse entertainment options. The survey indicated that consumers were most interested in using AR and VR to enhance experiences in concerts, educational content, and gaming. Respondents also indicated that they were interested in joining the metaverse to participate in social experiences and to attend live music events. The research unveiled generational differences, emerging opportunities, and trends to follow to best meet consumer demands.
Even though VR, AR, and the metaverse are already a growing part of the consumer
marketplace, it is still important to define these relatively new technologies since they are not yet
mainstream. VR technology enables users to immerse themselves in and “interact with a
computer-generated environment, a simulation of the real world or an imaginary world” (Akbari
et al, 2022). In contrast, AR technology incorporates digital elements or objects into the real-
world environment in real-time (Akbari et al, 2022). The VR market is expected to generate a
global revenue of $20.8 billion, and the AR market is projected to grow to $31.3 billion by 2027
(Statista, 2022a). The market projections indicate the potential growth and opportunities in these
immersive technologies.
Studies focused on the “artistic” aspects of generative AI reveal negative bias, and a preference for human creations. None of these studies, however, account for the multimodality of comic books: text and image. Is a human-written story a mitigating factor for readers? Is it feasible for writers to become “AI comic book artists" or will consumers drive AI imagery out of the market altogether? Given the multitude of information making it difficult to discern how comic book consumers perceive AI imagery, the following provides first-person research by generating an AI comic and conducting a survey on unsuspecting comic book customers.
As little as ten years ago, the capabilities of image generators were mere fantasy. Now, images can be made in seconds or minutes and children’s books can be generated in an hour, but how will this impact an industry where the art is at the forefront of consumers' minds? Comics, whether they be digital or print, have been heavily dependent on individual or small groups of artists to weave together stories. The ease of using AI to replicate that work may not be simple.
he current era of television feels most like the decade preceding ‘New Hollywood’ in the 1970s, the fall of big budget movie musicals and an industry wide scramble to find out what comes next. Television is in some ways returning to the old model with commercial breaks and digital bundles, but television as a medium and an industry has been forever changed by the birth of prestige television. The lessons that are learned from this time will likely dictate the next fifty years of American television.
With little success in larger-scale government oversight so far, it begs the question: how is the marketplace for DAFs changing and innovating in the response to these singularizing criticisms? Is the market listening and self-correcting as a way to preempt such legislation? Given the broad variety of DAF sponsor organizations, it is evident that the field, while large, is not a monolith and deserves to be measured at its innovative margins. Newer sponsors have revealed themselves to be particularly aware of the controversies yet remain focused on the opportunities these accounts provide and are demonstrating new approaches to DAF sponsorship aimed at greater payout rates and democratization of their platforms.
While institutional philanthropy is in a boom-time, foundations have not monopolized such growth. The renewed interest in donor advised funds (DAF) since the pandemic has triggered meteoric growth in the amount of assets stored in DAFs, with recent figures showing over $229 billion stored across 2 million DAF accounts, receiving roughly $86 billion in annual contributions, and granting nearly $52 billion in 2022.
As previously foreshadowed by Samantha in an article written in July of 2023, TikTok: Opportunity and Risk, TikTok has been under a microscope from governments across the globe for quite awhile. The analysis provided in her article is still relevant today given the recent vote to ban TikTok, and the United States House moving forward to force Chinese state-owned TikTok company ByteDance to sell their ownership of the U.S. version of TikTok, or lose access to the United States TikTok market. To fully understand the situation, this article will recap TikTok’s controversial Privacy Policy and the 2023 testimonies, and also discuss the current governmental situation surrounding the ban.
Digital strategy has become a buzzword after the explosion of AI in the last 18 months. Yet, it is not about AI. AI has been the tipping point for organizations and professionals to recognize that they must update or create a digital strategy for success. Digitally-forward arts organizations already have a digital component as part of their strategic plan. Read more to understand the need for technology to be a core component of strategic plans and operations.
In recent years, virtual reality (VR) has emerged as an engaging tool for museums, offering visitors immersive and interactive experiences that go beyond traditional exhibits. However, while VR promises enriched engagement, museum professionals still face multifaceted challenges. So far, most of the research conducted has focused on how museums utilize VR to attract more visitors and, as a result, raise their revenue. But VR is not only about that. Museum professionals and curators face multiple challenges that include integrating technology, curating content, and maintaining the authenticity and educational value of exhibits while meeting the demands of modern-day audiences.
Although art auctioning is a long-established and time-honoring form of trading, the method and fashion of art auctioning are also challenged and transformed to reflect the needs and trends of each era. In this technology-driven era, specifically in the age of AI, in which all fields of profession and markets are being affected, the world of art auctions is also being transformed at a rapid speed.
The planet is experiencing the impacts of climate change, and global leaders are prioritizing critical action. In 2015, 196 countries signed the Paris Agreement, which committed to keeping global temperature rise well below 2 degrees celsius above pre-industrial levels (Paris Agreement). It further prioritized keeping temperature rise below 1.5 degrees celsius, the level at which scientists predict the most severe and irreversible impacts may be avoided. To remain below this critical threshold, greenhouse gas emissions must peak before 2025 and be reduced by 43% by 2030.
XR is an exciting venture for museums for a variety of reasons ranging from stretching the limits of exhibition possibilities to expanding access and elevating the transfer of knowledge to an interactive, long-lasting experience. But how can museums thoughtfully incorporate XR into their programming, aligned with the sector’s increasing awareness and incorporation of equity goals?
