The construction of a ‘new aesthetic paradigm’, a project dedicated to a ‘subjectivity to come’, re-singularized, and capable of a re-appropriation of technologies, with the capacity to invent unprecedented technological practices —shall be founded on the languages and images of our globalized culture.

What language best encapsulates our époque?

What image, today, plays a role comparable to that of painting or photography in earlier historical moments—an image through which reality is sensed, understood, and imagined?

WHAT IS THE IMAGE OF THE PRESENT?

Despite their cultural dominance and endless proliferation, no single image—neither video, nor photography, nor GIFs, nor glitches—can credibly occupy this position. These forms are symptoms rather than foundations: hybrid, contaminated by one another, never autonomous. They exist within a broader condition that exceeds any singular medium.

That condition is the digital interface.

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DIGITAL INTERFACES ARE AT ONCE THE UNIVERSAL LANGUAGE AND THE DOMINANT IMAGE OF OUR GLOBAL CULTURE

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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.

The digital interface is not merely a container for images. It is an image of images—an über-collage, a complex visual system, an image-language.

Digital interfaces do not simply transmit information. They reorganize perception, attention, memory, and relation. They shape not only what we think, but how thinking itself is structured.

DI IS THE CONDITION FOR THE GLOBALIZED COMMUNICATIONS ERA.
This unveils a remarkable contradiction:

While we are fluent within this language, we remain largely inarticulate through it. We have been trained to navigate interfaces, to populate pre-existing templates with content, to behave within prescribed structures. Yet the capacity to transform the interface itself—to intervene at the level of structure, logic, and form—remains the privilege of a few.

Digital interfaces are today, the product, reflection, and vehicle of a technocratic sensibility: optimized for efficiency, control, predictability, and extraction, while remaining largely inaccessible as a means of genuine human expression.

OURS IS A CULTURE OF GENERALIZED STRUCTURAL ILLITERACY.

These conditions provoke a series of generative questions:

What are the unrealized potentials of the digital interface as image, as language, as world-making medium?

What if digital interfaces became sites of collective expression—not merely languages we actively speak and reshape, but as spaces we inhabit?

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 emerge

DIGITAL INTERFACES ARE THE DWELLINGS OF THE POST- HUMAN

We imagine creative uses of digital interfaces—DIGITAL INTERFACES AS ART—spaces free from templates, optimization logics, and technocratic norms. We seek to delineate new practices of communication that empower individuals and communities to construct their own image-languages, to author the spaces and architectures through which their online existences take form.

We imagine other interfaces