The focus of this special issue—the potentials of the concept of the blur—might seem counterintuitive. Surely, there is a need to rethink how our perception of fact can be sharpened as a tool against the fake. Yet, we have asked media arts practitioners and theorists to consider the conceptual, theoretical, and methodological usefulness and application of the blur in the study of digital media culture. This is because we are interested in exploring the various ways in which porous boundaries and zones of indistinction can be creatively employed for dealing with the often dangerous intricacies of our networked existence, challenging rigid political, aesthetic, and technological categorizations. This does not mean that we necessarily reject the idea of making clear distinctions, but we are nonetheless keen to investigate different modes of empowering entanglements and blurrings that might surprisingly bring reality back into the mix without the baggage of categorical separability.