Digital and aesthetic application in multimedia art: video art as a model

Contemporary plastic practices have, since the 1960s, undergone profound transformations that have reconstituted the functional identity of the creative product. Art has been subsumed within the crucible of digital technologies, from which the domain of "Multimedia” has emerged. This study seeks to investigate " video art” as a foundational axis of this transformation, drawing upon the technical properties of image and temporality to generate an expressive language that transcends conventional modes of reception toward dynamic interactivity.

The research problem is articulated through examining how avant-garde artists - such as Nam June Paik, Dan Graham, and Bill Viola, among others - have harnessed technological developments (from portable cameras to virtual reality) to transform visual media into critical and existential instruments.

The study aims to analyze the structural and philosophical dimensions of this medium, while probing its capacity to bridge the divide between creativity and technology, with particular emphasis on the concept of "space-time", which reconfigures the artwork into a living experience grounded in feedback processes.

Furthermore, through a critical reading of applied models, the research aspires to explore the positioning of video art within the contemporary aesthetic landscape, and to examine the extent to which its hybrid language responds to socio-political transformations and contributes to the formation of collective consciousness.

The study concludes that video art constitutes a multidimensional medium that synthesizes digital aesthetics with conceptual discourse, affirming its role as an open field for deconstructing the boundaries between art, communication, and politics in light of accelerated epistemic developments.