The use of computers in the aesthetic field has led to the need to adopt different names in the last twenty years: new media art, computer art, virtual art, intangible art, interactive art, telematic art. Definitions that do not express expressive currents, as occurs in the plastic arts, but rather a preferential and significant use of technologies and software that have followed one another in recent years. The characteristics of this typology of digital works were analyzed by the French philosopher Pierre Lévy, who followed the development of digital languages ??and, among the first, tried to outline the cultural and aesthetic coordinates by observing how "the work of cyberculture participates in these rhizomes, to this plan of immanence of cyberspace. It is therefore constantly traversed by tunnels or faults that open it on an non-assignable external and connects by nature (or awaiting connection) with people and data flows. Here is the global hypertext, the virtual metamondo in perpetual metamorphosis, the musical or iconic river in full "
Di Salvatore D'imperio
" Arte ed Economia sono un binomio perfetto. Senza Arte non c'è Economia. "