 Although technology-based art is viewed as being part of the “the final avant-garde of the twentieth-century” (Rush 2005), and digital art has been part of the mainstream art world since the late 1900s (Paul 2008), the philosophy of digital art is still an emerging subfield. Three seminal monographs, one on videogames (Tavinor 2009), one on digital cinema (Gaut 2010), and one on computer art (Lopes 2010), have been invaluable in laying the groundwork concerning philosophical questions about art and computer technology. Since these publications, further philosophical attention has been given to the digital arts, including the first published volume to focus on the aesthetics of videogames (see Robson &amp; Tavinor, eds., 2018). However, there is still a great deal of philosophical work to be done. In particular, work is needed to provide a general conceptual framework for an interdisciplinary discussion of the true extent to which the digital has revolutionized art and media.