The infiltration of communication networks and the ever-growing world of technology has undeniably enhanced life’s scenes of security. On the side: terror and ugliness has also found easier and deadlier ways to grow, based on the same electronic, smart platforms; and the governments—that occasionally dispatch their troops, aspiring to gain more votes, while at times calling for a cease fire to come up with more effective ways—find new pretexts to unscrupulously intervene in the privacy of their citizens.


The simultaneous experience of these two opposite poles is no new revelation for the contemporary man. Inherently, every phenomenon has its doomed dialectic, never ceasing to surprise its audience, like an intimidating drama. There is no escaping this unpleasant co-existence either: from the blooming of the Arab Spring in the social media of the day, the instantaneous publication of the demonstrations and the world-wide sympathy for them, to the savage and heart-rending display of the ISIS on the social media, and the global hatred it provokes—all of which has come to pass only recently.
The digital art, however, provides a democratic and innovative context that can be a new opportunity to converse and sympathize with the contemporary man, provide answers for his concerns. By being inspired from the arts’ critical resources, and instead of being merely concerned about its decline in the market, it can care for the human society’s moral downfall, paving a new way to refine the culture and the digital life-style of this age, so that a more fortunate ending might come into view.
At this critical juncture, with the overt digitalization of the life-style, commerce, and management of today’s world, digital art, as an interdisciplinary, multifaceted medium, has found a historic opportunity to develop its capacities—while maintaining its contemporary expression—to become the dominant, progressive medium, and a driving force for contemporary art.
Ehsan Rasoulof