 The second work involves imagery that was initially captured digitally. Arcangel &amp; Davis began by taking 360-degree photographs of Buffalo, New York. They scanned and modified the photographs on their computer so that the images could be coded according to the graphics capabilities of the Nintendo gaming system, and in order to give the images the distinctive look and feel of the Mario Bros game. Arcangel &amp; Davis then programmed the landscape imagery to scroll continuously across a TV screen, as in the Mario Bros game. Finally, Arcangel &amp; Davis melted the chips in a Super Mario cartridge, replacing them with his self-manufactured chips so that his landscape “game” could be run on any Nintendo system. As well as all the ways in which Arcangel &amp; Davis’s work relies on both the technology and aesthetics of videogames, there are clearly ways in which it deliberately removes or blocks certain key features or capacities of videogames, perhaps most notably their robust interactivity. Playing a videogame essentially involves the prescribed creation of new display instances of a work. But we do not “play” Landscape Study #4, and its imagery is fixed by the artist. The kind of interactivity typical of videogames can also be found in artworks made without computers (see Lopes 2010: 49). But this type of interactivity is most closely associated with digital art because it is so much easier to achieve with the use of computers. This suggests a high degree of self-consciousness in Arcangel &amp; Davis’s decision to block the interactivity of his reverse-engineered videogame. From the perspective of the philosophy of digital art, such a decision highlights the need for further discussion of the link between the nature of the digital and the nature of interactivity.