This thesis explores the transition from traditional to digital art, analysing how new media and technological innovations are reshaping artistic practices, concepts, and cultural values. In the digital era, art has become increasingly interactive and participatory, challenging the classical boundaries between artist and audience, analogue and digital, as well as human and machine. The research traces the historical evolution of digital art, from early avant-garde and conceptual movements, such as Constructivism and Dadaism, all the way to today’s hybrid practices involving virtual reality, algorithmic processes, and cybernetic interaction.
The study examines how digital technologies have transformed not only the tools of artistic production but also core notions of authorship, aesthetics, and authenticity. Artists now operate in a space where reality and virtuality intertwine, where traditional ontological models of representation give way to dynamic, process-based forms of creation. By investigating the historical lineage of interactivity and the mobility of the artwork, the thesis highlights the continuity between conceptual art and contemporary digital expressions. The work raises critical questions about identity, surveillance, and autonomy in the context of digital capitalism and algorithmic control. As digital platforms increasingly mediate both art and life, the thesis asks whether personal freedom and creative sovereignty can be sustained. The digital transition represents not only a technological shift but also a redefinition of the cultural, ethical, and spiritual role of art in the 21st century. In this thesis I explore the evolution of digital art, tracing its development from early conceptual practices to contemporary cyber culture. How technology has transformed not only the tools used in artistic production but also the meaning, function, and social role of art itself?
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