Art deals with the clouds

production and digital dimension, for the column Digital Aristotle, back of a smartphone cover with the picture of an ancient marble bust of a bearded man

Digital dimension works in the symbiosis between technology and biology. This symbiosis is characterized both by a timeless and universal dimension and by historically located modalities (be they random or not).

The synthesis between technology and biology can be caught by reflecting on themes relating to the ways of the birth of life on earth that science has been offering us for some time around the formation and dynamics of DNA.

This, both considering the current “power” of the IoT (and in general of the results of artificial intelligence), and the current expansions of genetic computation. That DNA can also be used to compute the osmosis between technology and biology seems completely evident to me.

What happened to art in this ensemble in time and in timelessness?

It is not easy to say (and it would be contradictory in relation to this reasoning on digital) what kind of art or how to imagine a sort of manifesto of future art. This was usual in the time of the historical avant-garde. I can however provide with symptoms and issues.

Since everything emerges between technique and life, art in turn will be everywhere by participating in the continuous processes of returning to the identical and also of opening to the possible. It will also tend to get rid of the author’s idolatry.

Thus it will return to an initial, anthropic and metacultural condition. Furthermore, it will go beyond the idolatry tied to the industrial production method (its museification).