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Digital art can thus affect a profound alteration of consciousness. To understand the implications of this, we have to go back to the way people experienced the inaugural event of this "digitization" of culture, the proto-Impressionist Music in the Tuileries Gardens. Kandinsky compared the slow but steady devolution, dissolution and near disappearance of the object in Impressionism to the modern discovery that the atom was not a solid, one-dimensional object but a complex structure of vibrating particles. However conventionally abstract or realistic, the digital image instantly reveals itself as the coded "re-presentation" of bits of sensationalized information. For Seurat painting was a systematic science. Gaussian-Quadradic by A.

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Perhaps above all, the blur becomes a temporal emblem rather a spatial marker, which is what it is in both Duchamp and Richter: it becomes a trace of time rather than a measure of space.

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This is inseparable from the rationalization of the matrix of vibrating sensations -- each is what Husserl called a "now-point" or "impression" of time, or what Leibniz called a petite perception on a temporal continuum -- into the grid of pixels. There is only active envisioning, that is, the creative construction of a vision from a certain perceptual perspective. It could never be more than ironically valid because it was never more than conditionally cohesive and coherent, that is, never more than a slippery configuration of provocative sensations. Wassily Kandinsky Black Lines

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