Evolution and Reconsideration of Art Geography in the Digital Era: A Case Study of Digital Artworks

This study, grounded in the symbiotic relationship between art and geography, constructs a three-dimensional analytical framework composed of data media, algorithmic generation, and multisensory perception. The framework aims to investigate how digital technologies reshape modes of spatial production, sensory engagement, and environmental imagination in contemporary art geography. In the digital era, where data, algorithms, and embodied experience intersect, artistic practices have evolved from static spatial representation to dynamic, participatory, and process-oriented forms of geographic expression. By examining six representative digital artworks including Machine Hallucinations: Nature Dreams and Quantum Memories by Refik Anadol, Monte by Luciano Piccilli, The Deep Listener by Jakob Kudsk Steensen, Peace can be Realized Even without Order by teamLab, and I'm Feeling Lucky by Timothy Thomasson, this study delineates three major thematic dimensions of digital art geography: urban visual documentation, embodied environmental expression, and artificial landscape reconstruction. The analysis reveals that contemporary digital art transforms geographical data into creative material media, using algorithms to generate fluid, dynamic spatial representations that transcend traditional boundaries between the physical and the virtual. Through multisensory and immersive interactions, these artworks invite audiences to inhabit hybrid environments in which data flows, algorithmic processes, and bodily perception are intertwined. Such practices articulate a new form of spatial consciousness, in which human beings experience themselves as simultaneously embedded in both natural and digital ecologies. The study identifies three distinctive tendencies: the transition from artificial selection to data-driven narrative in urban visualization, the shift from philosophical abstraction to informational reconstruction in environmental expression, and the evolution from static fixation to responsive symbiosis in artificial landscape creation. Beyond formal innovation, these transformations embody deeper epistemological and political implications. Digital art geography reveals how data infrastructures, algorithmic systems, and technological mediation carry implicit forms of power that shape perception and representation. The artworks analyzed demonstrate that data are never neutral; rather, they participate in constructing spatial hierarchies and determining who can access, interpret, or intervene in digital landscapes. This study thus extends the critical scope of art geography by engaging with pressing issues of the artificial intelligence era, such as data sovereignty, algorithmic transparency, and the ethical tension between human-centered perception and ecological complexity. In conclusion, digital art geography represents not merely a technological advancement in artistic media but also a profound transformation in the human relationship with space, environment, and information. By integrating artistic creativity with geographic inquiry, the "data medium-algorithmic generation-multisensory perception" framework provides an effective methodological tool for analyzing how digital art redefines the production of space and the aesthetics of inhabitation. Simultaneously, new theoretical and ethical questions concerning how human beings negotiate agency, embodiment, and coexistence within an increasingly algorithmic world are raised. This research contributes both to the theoretical development of art geography and to broader debates on perception, ecology, and critical spatial practice in the digital age.