For some authors, Simon Marchan Fiz and Lucy R. Lippard being two of the highlights, new art, including digital art, is implanted in a continual process of de-materialization of artwork that goes back to the end of the XIX Century, with the incorporation of photography. It kept increasing afterward with the appearance of the movies, which incorporated a new dimension of space-intangible time in projections.
It continues with the posterior appearance of neo-conceptual art, in which object art disappears, and is substituted by idea art. This de-materialization process of artwork continues in the present day, with the electronic techniques that allow for a digital, virtualized representation.
Art has always had a forward-thinking vision compared to the reality of the moment in which it was produced. Current art could not stay anachronistically reduced to being expresses exclusively with the creative media from previous centuries, nor could it be apart from a daily reality with a digital character.
Since the public appearance of the Internet, and of the digital tools and possibilities that they develop, in our day to day lives, for any activity that we do, the use of electronic media predominates. Therefore, current artists that come from the web generation and that live in a technological environment incorporate these tools naturally to express themselves creatively.
Artistic creation, always at the forefront, requires the use of technological and computing media that today is within reach, to make possible the creation of artwork within a new media, which is the Internet, and in a new environment or reality that is virtual or digital. The new tools allow for the conversion of the faithful interpreter from their contemporary reality to share in the changing, virtual, and fragmentary nature of technological media and modern information and social networks.
So-called multimedia art takes in different expressive resources, like virtual art, video art, interactive installation, net.art, digital art, media art, web art, online art, flash animation, CD-Rom-art, and their hybrids or derivatives.
It is evident that the substitution of exclusive artistic manual or analog practices for new digital media involves new expressive, theoretical, and creative possibilities that define, with great accuracy, the current reality.
We are certainly helping to develop a new artistic tool that allows the innovation in various fields and and for the modification of parameters and structures, but, at the same time, as is logical in any evolution, that also uses a language that heralds from previous eras and as such links to a certain creative tradition in which previous aesthetic, plastic, and conceptual structures are recognized.
DIGITAL ART
In the creation and development of a new imagination, the contribution of the philosopher Pierre Levy will be necessary, which widens the philosophical theories of Gilles Deleuze on the conception of that which is virtual as a dimension of that which is real, incorporating new aspects on rhizomatic thinking—through the fusion and conversion of digital networks--, cyberspace, hypertext communication, hypertext, and new communication media, that bring the web forward.
Levy contributes by developing notions like cyber-culture, cyber-democracy, and collective intelligence on the Internet, understood as “the capacity of virtual communities to stimulate the combined expertise of its members.” He comes to innovative conclusions about societies based on knowledge, showing the efficiency of shared knowledge systems and starting arguments that allow for the development and materialization of a new sense of reality that is hard to grasp.
I M M E R S I V E R E A L I T Y
At the root of these notions, a new imagination media appears on the Internet, known as the metaverse world, which was announced by Neal Stephenson in “Snow Crash,” where the idea that fiction incorporates practices of some humanistic sciences to generate a world that relates and combines, throughout its dramatic development, aspects of old civilizations and the current culture of programming that uses binary language.
The metaverse, which is generated by computer programs and developed by different virtual environments, even in some video game scenarios, has been proclaimed by Peter Greenaway as the new artistic and cinematographic media and that will allow for the birth a new type of film that is digital and that will not require large budgets, but will be made with work teams online, and, on occasion, with avatars. We call this “Cinemapop.” This generated world has also opened the door for an innovative type of art that is intangible, immersive, and interactive. Immersive Art.
INTRODUCTION
Digital artwork modifies our previous perception of space and time, since it is not changed by the temporary parameters of space that rule our environment, modifying the creative process and the concept of art itself.
IMMERSIVE ART
Nicolex Moonwall "Open This End"
Virtual Worlds
Virtual Worlds