Video is really an art form that's of the here and now.

It has a a long history.

We have experimental film, which also has a longer history because film's been around, you know, since the early 20th century.

The drive to experiment is there always.

What's been, I think, difficult for museums is it's time based.

It takes time to watch it.

It takes time for someone, either a contemporary curator or a curator with a special interest in this area.

It takes time to figure out what's good, what succeeds, how to program it.

And so if you're doing that inhouse, then I think the public is hungry for it.

Digital engagement at PAMM means extending the mission of the museum beyond the walls of the building, democratizing access to our collection and our purview of Latin American artists, South Florida, Caribbean diaspora, African diaspora.

Immersive is, though it seems to be having a renewed attention in the last few years, it's been around for a long time now.

What makes this particularly interesting is that it's I think the first time that we've really displayed a survey of art from artists working natively with the screen.

Part of this new frontiers is that we also want to include the audience, right?

We can't do this without them, and they're very important.

And so there is, what we are conscientious of is user experience, making things easy for people to use and understand.

They use their own devices.

They don't have to learn how to use an app.

And that's very important to us that we bring everybody along with us when we do these things.

I mean, one of the most amazing things I think about experiencing art in a museum as opposed to your home or books is the experience of participation, the experience of seeing things in real time with other people.

And oftentimes that's kind of against sort of the digital experience that many of us have because of our handheld devices.

And so we've been interested in, first and foremost, just how do artists use digital, use video, use screens in ways that are innovative and constantly trying to push the medium forward.

And I think one of the ways in which we've been interested in exploring that is what does that mean in a physical space, you know, something that we talk about as being enveloped in the palm of our hand, right?

We're really happy and proud that we have 3,500 objects or something available for people to see on their computer, but we know that that's one way of experiencing the collection.

And that's great in some ways, but we also privilege a participatory experience.

And I think that's, you know, that's what we're happy to be exploring in this moment with "Sea Change."

[Jay] What we're looking at right now is called "Fifteen Terrariums" by Rodell Warner, an artist from Trinidad and Tobago, and Rodell works with the native plant life of the Caribbean.

And you can see how he crystallizes them as a way of an act of preservation almost.

And so the result is a beautiful tour through a sort of naturalistic or digital naturalism, you might call it.

My name is Fabiola Larios, and I'm an interdisciplinary artist.

So this is like years of working with the themes of internet and how we converge with the internet, how we grow with the internet.

It talks about surveillance capitalism, that is, how a user pays with their own data to have a service.

So and that's how it just like jumps from the, like the online experience of just like having fun and stuff and then like how it starts surveillance capitalism and then how we, like, I started like getting like into a lot of different platforms to use, to have access and use it and like how, like this is like just an interpretation of how I felt the internet.

I'm obsessed with the concept of being surveilled constantly, like online, like surveillance cameras.

And that's also my body of work, having like all these eyes and surveillance cameras in my pieces.

My name is Leo Castaneda, and I'm a video game designer and multimedia artist.

"Levels & Bosses" is a series that I started back in 2009 to try to bridge video games and fine art, and over time it developed into virtual reality experiences and actually trying to make art out of video games themselves.

And then here in this piece, you see the prologue of the game, which is this village of these beings that could be interpreted as future robots or future humans, but they're these amphibious beings.

But it also fits the exhibition in terms of a technology-based piece that also addresses climate change in a metaphorical way.

I felt like the structure of worldbuilding of video games was a way to be able to do paintings, drawings, interactive sculptures, like anything that would kind of fit this overarching built mythology.

And also thinking of like what is the idea of an open mythology where there's no limits of what can be a valid part of a storytelling practice.

It's becoming more and more material to the goings-on of a contemporary art museum that we engage with digital artists and we display their art natively as they have made it.

And so I think more and more museums will be catching onto this, and I think there is, you know, with the museums, there's always that sort of lag of like catching up to where people are.

But I think, you know, we are taking a big leap forward with projects like PAMM TV and with our augmented reality gallery, New Realities, and we are trying to appreciate digital art as a variety of mediums.

So it's fascinating to see, say, what's going on.

It's fascinating.

I was thrilled to be asked by the Perez Museum when the Knight Foundation gave the grant for them to start the online platform.

To me, I guess what I'm always looking for is the poetry of the soul of the artist.

You know, I wanna be knocked over the head.

So I chose work that I thought was very strong.

It happens, and I thought, because it's online, because I hope they bring it into the collection, I really thought about 10 works from around the world representing very different points of view, and they're different ages, and so I thought it's a really good look at what's going on.

A few are very, in quote, realistic, you know, shot with a camera.

They're political.

They're very beautiful.

My name is Richard Garet.

I am a multimedia artist.

I work with sound and moving image and visual arts in a wide spectrum, we can say.

The title of the piece is "Painting By Numbers: Composition Number 6," and it's a series of experiments on sound and moving image.

But the workings in itself is heavily inclined towards the digital and the glitches and the artifacts and all the information noise that can be encountered in the processes of working with digital media and the translation to sound, to moving image as well.

So there's this connection in his practice, visual, that has this abstract sound and image, and the color is just drop-dead gorgeous.

So there's something that's so sort of visceral in the way it looks, and so that's what I thought, it's very painting-like, and it does have duration.

And you call it, it's not a video.

You don't call it a video.

You call it, what do you call it?

Moving image.

So in a way, I embrace technology and the methodology that now permits to turn anything into a video per se, or a moving image, you know?

People talk about, you know, the death of painting.

I know about death of painting.

Like, there's always something interesting to explore with simple tools.

So we wanna to continue to do all of that.

And I think what we're trying to do and what we're trying to say, you know, it goes back to that experiential conversation, is that there's a history here.

There's a long history here, and digital is at the forefront or at the present of what is the medium that is most democratizing and also the one that has the greatest promise of innovation because it literally is being innovated constantly, and artists need to use it so we understand what it is we actually have.