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This project explores how to approach the paradigm of embodiment and research in a post-digital society from a personal perspective, combining the academic, peer-reviewed lens of media education research with the artistic, embodied perspective of a dance artist. The intersection of research and art in the digital age has been examined from myriad perspectives, yet often misses a crucial point: our bodies—and, by extension, the creation of art from a corporeal perspective—have been fundamentally altered in the frame of reference of post-digital and post-digital art. In the post-digital era, digitality is no longer a mere extension or prosthesis that perpetuates humanity. Rather, technology and computation have become so integral to our culture and bodies that digitality is only recognized as a core part of our identity when its absence is noticed. Recent research shows that metacognitive awareness—our understanding of how and why we do things—aligns with approaches to learning and helps explain the strain we experience in post-digital environments (Koivuneva & Ruokamo, 2023; Koivuneva et al., submitted for evaluation; Koivuneva, 2025). Previous studies have often narrowed the concept of metacognition and its dimensions, but new quantitative methods, including those from my own research, have revealed additional dimensions of metacognitive awareness. These findings have significant implications for how we describe our reality. As Bogot (2024) asserts, "Culture moves through computation." Indeed, our evolved metacognitive consciousness is four-dimensional rather than two-dimensional. In post-digital environments, we consciously observe and focus on specific phenomena while also planning how to navigate these spaces in ways that reduce cognitive burden and foster meaningful connections with others. This helps us create deeper associations between the knowledge we acquire and our lived reality. The phenomena from which we derive knowledge are all filtered through some form of computation. Scientists structure knowledge through various computational methods, while dance artists filter it through embodied practices. What unites these phenomena is that nearly all the information we encounter today is mediated by technology and computation, fundamentally altering how we relate to the world around us. The way we learn has shifted, and our bodies now move within realities shaped by computers. The potential realities are expanding—limited only by the infinite possibilities created by artificial intelligence.
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