There would be today, according to Norbert Hillaire summoning Marcel Duchamp, a digital coefficient in each work. When this is expressed in different ways according to the plural practices of a unique contemporary art. And how could it be otherwise, in this totally numeric world? Start with the artists who carry out their initial research through engines to determining algorithms.
Without omitting those who, from the Internet, extract the very materials of their creations in becoming for the purpose of contextualizing them into ‘white cubes’. The objects of our comorality are empowered. There are also artists from the cultures ‘open sources’, to divert them in order to invite us to reconsider our relations with the world of machines.
Considering the premises of a strange/rare relationship of art with the technologies that we can today, dating from the end of the sixties, it would have taken fifty years before finally, the
digital would have contaminated the integrality of the artistic means. Images or sounds to objects, such as mechanization / manufacturing treatment. In order, beyond the tendencies,
to become the essential medium of contemporary art.
- Dominique Moulon, France, is a historian of art and technology, specializing in French digital art. He is the author of the book Art contemporain nouveaux média. mediaartdesign.net