s and organizing new modes of sensibility" -- because our consciousness and sensibility is largely now molded by the virtual(1).
Nechvatal brings out an important point hereùthat art is a reflection of our own consciousness and sensibility, and if these are molded by, expressed by, or contingent on the virtual life, we must incorporate that virtual life into our work to keep it alive and vitally connected to who we are.
The dimension that digital enhancement brings to painting is undeniable. Whether mixed with painting, as in Anna LongoÆs or Linda LaneseÆs work or strictly digital, as with Andrew Wallerstein, Brian D. McMillan, and David Monachello, digital art goes beyond the limits of technical creativity to engage the spirit of creativity that lights up a work of art with excitement. New art forms arise from this sparkùworks that incorporate multimedia, movement, and other forms of art. Digital artists like Philip Rubinoff can work from moving video using a multitude of special effects; Raino Ranta can combine several media with computer graphics; Marcus Moura can employ digital im
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