Concepts such as digital art, cybernetics, net art, or software art have long occupied an important place in artistic practices, but not the necessary attention. Although the first works in the field of digital art have already been created in the late 60’s, the terminological and content uncertainty in the use of the heading can be detected even today. This use is caused, first and foremost, by the diversity of practices belonging to a given field of art: computer graphics, interactive installations, music, software art, biotechnology.
The question of the use of the media itself also causes a certain degree of ambivalence. Some works use a digital/virtual space as a tissue through which they are constituted and in which they exist, while others build their own “material”, reality form only through a digital medium. Various “straight lines” that can be singled out do not possess unique genre parameters (nor is it possible to speak of a single aesthetic of digital art or cyberspace).
The change of media, first of all, technical nature, did not exhaust the possibilities of expression but, on the contrary, multiplied them. Linearity (spatial and temporal) is replaced by interactivity, the ability to reverse the content and form of work. Thus, the status of artistic work as a given and comprehensive object is called into question: the work is open – as it is exposed to interventions, subject to expansion and change, a new intrusion of meaning. In other words, work (painting, sculpture, installation, ambiance, text) is presented in the form of a situation that requires the interaction of the template and observer, resulting in an aesthetic experience.
The measure and quality of interaction/change are, of course, often predetermined by the intent of the author, but at the same time imply a change in his / her authorial status as they leave room for the intervention of the observer, thereby becoming a participant. The idea of authorship as an exclusive right over the whole of an art object is precisely in digital arts reconsidered through numerous and different strategies of an interaction of work with other “non-authoritarian” subjects. The observer is introduced from a passive view position into a “co-author” position: by his original entry, he/she can change the meaningful content of the work.
The boundary between high art and popular culture becomes fluid through the eclectic merging of elite and consumer, aesthetic and functional codes, private and public codes. Concepts such as original and copies, which were initially worked in modernism through serial production and machine reproduction, are deconstructed at the same time using the dominant copy-paste practice characteristic of the Internet culture. Multiple “cloning” of the artwork questions the privilege of mimesis: since the copy is identical to the original, the mechanical reproduction of the object appropriates (or deletes) the authenticity, and the plagiarism ceases to exist. The “death” of the copy is presented by examples of net art, the work is multiplied, present at all times and in every part of the Network.