How do infrastructures, formats, and regulations shape the practices of production and distribution, and how does their interplay generate spheres of exchange and cultural spaces?

The emergence of a global digital sphere of exchange, detached from geographical spaces, amplifies aesthetic, formal, and semantic resources, as well as possibilities for novel combinations. While the first project phase assumed "neutral" infrastructures enabling production and interaction among cultural entrepreneurs, the second phase will foreground the formative power of infrastructures. Artists and cultural entrepreneurs create forms of cultural expression tailored specifically to circulation (that is, always subject to appropriation and redistribution through social networks), optimized for qualities like iterability, meme-ability, and danceability, aligning with digital infrastructures like portals and platforms and their formats.

How do digital technologies and their affordances—such as social media platforms—shape forms of production? How do the affordances of digital distribution infrastructures facilitate multiple authorships and the emergence of potentially "open" products, perpetually evolving through practices of appropriation and remixing? How does this relate to digital circulation spaces transcending geographic and political boundaries, yet simultaneously becoming fragmented again through state regulations and geoblocking, as observed in China?