LLEI D'ART 14

del Prado (Madrid) a similar fashion towhat happenedwithphotography and cinema. In fact, in1839photography alsoopenedupawide selectionof possibilities leading to the representationof reality. New technology, new tools for expression shouldenrich the exerciseof art, never isolating it. Currently computers are part of themany facetsof creation inagreat varietyof artistic disciplines. This is somethingof apolemical concept amongst professionals: it is considered, by thepurists, tobe the simple result of technical skill, strippedof all artisticcreativity. However, digital art is something tobe taken intoaccount withincontemporary artisticproduction, and it questions the various traditional aestheticmodelsgiven that the revolutionary aspect of theconcept and theenormouspossibilities it offers areonly limitedby theartist’s imagination. Theart labeled ‘NewMedia’ is still inanexperimental phase and is currentlydragging its trinkets from fairground to fairground in itsold jalopybecause themarket does not yet knowhow tocommercialize its ‘objects’, although it does knowhow to showand spread them – thewitty asidecomes from JoséRamónAlcalá, Professor of ImageTechnology at the SpanishUniversityof Castilla-LaMancha. Since there isn’t –for the timebeing– a tangibleproduct that canundergo theusual transaction, there is ageneral trend towards a kindof hybridproduct, between thedigital and the analogue. Images created inPhotoshopare transferred toa canvasor sculpturesdesignedusing specific softwareand arecreatedusing3Dprinting. This is a kindof adaptation thatmany artists have incorporated into theirworkwith the soleaimof finding sellablewaysof presenting their creations. Others, however, prefer to respect thecontext theworkswere Cortesía/ Courtesy Alexander Jasson 27