magines

The search for new aesthetic paradigms must necessarily unfold in the realm of images, given the role they play in contemporary existence.

What is the image that today, just like painting, or photography did in the past, manifests the rhythms of our times, how reality is sensed, understood, and imagined?
WHAT IS THE IMAGE OF THE PRESENT?
Despite their cultural dominance and endless proliferation, no single image form—neither video, nor photography, nor GIFs, nor glitches—can claim this role. These remain symptoms, expressions, always contaminated by one another, never autonomous. They exist within a larger condition that exceeds any singular medium.
That condition is the digital interface.
The digital interface is not a mere container for images; it is an image of images—an über-collage, A COMPLEX VISUAL SYSTEM. IMAGE-LANGUAGE.

Further observations reveal a contradiction:
* The Observation
Over the past forty years, digital interfaces have become the primary medium of global communication. Through them, we encounter the world, one another, and ourselves.
Digital interfaces do not merely transmit information; they reorganize perception, attention, memory, and relation. They shape not only what we think, but how thinking itself is structured::
DIGITAL INTERFACES ARE TODAY'S UNIVERSAL LANGUAGE

* The Contradiction
While we are fluent within this language, we remain largely inarticulate through it. We know how to navigate interfaces, how to populate pre-existing templates with content, how to behave within prescribed structures. But the capacity to transform the interface itself—to intervene at the level of structure, logic, and form—remains the privilege of a few, LARGELY A REFLECTION OF A TECHNOCRATIC SENSIBILITY: optimized for efficiency, control, predictability, and extraction, inaccessible as a means of genuine expression::
OURS IS A CULTURE OF GENERALIZED ILLITERACY.

All these conditions provoke many generative questions:
* What are the unrealized potentials of the digital interface as image, as language, as world-making medium?
* What if digital interfaces could become sites of collective expression—not merely spaces we inhabit, but languages we actively speak and reshape?
* What transformations might emerge from a widespread, creative, and poetic use of digital interfaces as a shared aesthetic and cognitive medium?
*What new forms of relation, subjectivity, and reality might then become possible?

What follows is motivated by these questions.
We imagine creative uses of digital interfaces—DIGITAL INTERFACES AS ART—liberated from the constraints of templates, optimization logics, and technocratic norms. We envision new practices of communication that empower individuals and communities to construct their own image-languages, to author the architectures through which their online existences take form.
In short,
a dream