In The Future of Art in a Postdigital Age, Mel Alexenberg defines "postdigital art" as artworks that address the humanization of digital technologies through interplay between digital, biological, cultural, and spiritual systems, between cyberspace and real space, between embodied media and mixed reality in social and physical communication, between high tech and high touch experiences, between visual, haptic, auditory, and kinesthetic media experiences, between virtual and augmented reality, between roots and globalization, between autoethnography and community narrative, and between web-enabled peer-produced wikiart and artworks created with alternative media through participation, interaction, and collaboration in which the role of the artist is redefined, and between tactile art and NFTs.
Mel Alexenberg proposes that a postdigital age is defined in Wired by MIT Media Center director Nicholas Negroponte: "Like air and drinking water, being digital will be noticed only in its absence, not by its presence.
Face it - the Digital Revolution is over" Kim Cascone uses the term in his article The Aesthetics of Failure: "Post-digital" Tendencies in Contemporary Computer Music.
[3] He begins the article with a quotation from MIT Media Lab cyberpundit Nicholas Negroponte: "The digital revolution is over."
Cascone goes on to describe what he sees as a 'post-digital' line of flight in the music also commonly known as glitch or microsound music, observing that 'with electronic commerce now a natural part of the business fabric of the Western world and Hollywood cranking out digital fluff by the gigabyte, the medium of digital technology holds less fascination for composers in and of itself.'