 Given the considerable effects of digital technology on artistic production, it is perhaps understandable that some commentators are inclined toward a radical overhauling of art theoretical concepts. But their arguments in support of such an overhaul are, at best, incomplete. We see this once we cite some important continuities between ways of making and thinking about art in the analog age and in the digital age. It has always been the case, for example, that “any medium can be translated into any other” (Kittler 1999: 1): without using a computer, someone could manually devise a set of rules (an algorithm) for the translation of image values, say, into sounds or text. Moreover, a common storage and transmission means for (moving) imagery and sound is not unique to digital technology: As Doron Galili points out (2011), electronic image transmission going back to the late nineteenth century—in other words, precursors of the TV—relies on the conversion of both images and sound into electronic pulses.