DIGITAL SPIRIT

Digital art determines a new aesthetics of essentially informational nature that demands and requires the redefinition of what is art as a whole. Such an aesthetics cannot be but a continuous construction since it is permanently linked to the progress of information technologies.
Digital arts are therefore shifting the field of phenomenological aesthetics of the « being-work » as an absolute presence towards that of the technological aesthetics of the work of art as a process and a strong interaction between the objective (the matricial and techno-scientific aspect) and the subjective (the singular artist and his personal history, his ‘vision’ of the world, of society, of human being) and the cultural (social models and representations of what art is in a given period in a given place ; that is our techno-informational era of networks and generalized IT).
The aesthetics of digital arts calls now more than ever before for the construction of a broad conception of aesthetics that sets in dynamic relation, and even in synergy, the various languages proposed by all the fields of cognitive life, given that these languages are inserted into the ramified, arborescent society of information and communication. The aesthetics of digital arts is bound to develop within the interconnection and better still within the hybrid crossover of those mutliptle languages that don’t care to define « what is » per se a work of art, not even for a singular subject alone, but rather to endeavour to explicate the emergence of the collective and individual comprehension patterns of the aesthetic function played by digital art at the present time.
In The 2006 Bandits-Mages festival , DIGITAL SPIRIT has experimented the interconnections between bachelor machines.
DIGITAL SPIRIT prolongs the reflexion of UNIVERSCITY TV towards a philosophical and aesthetical understanding of the digital media by setting up a collective work that explores the role of artistic expressions in our information society.