Contemporary aesthetics are re-engaging with the social context bringing back politics into the fore as an important element of art. This is an approach that can be traced back to Fluxus strategies and processes applied to contemporary digital aesthetics frameworks. Intermedia (or any other form of media hybridization) is both a tool and a process to create new understandings of conflicting and conflictual contemporary social conditions.
The paper explores a series of contemporary artworks which by using sounds, images and data attempt to construct new aesthetic analyses of contemporary post-democracies. Fragmented, dispersed and globalized via the use of digital dissemination tools these artworks attempt to unveil, explain, re-organize and process the complex and numerous contradictions that characterize contemporary historical times.
Is it possible that with the impossibility of visualizing an economic and existential crisis, sound and sound art in particular, become the tools to voice dissent? Increasingly artworks seem to whispers, mutter, speak, cry, yell, shriek, howl the injustices and dramas of living as post-citizens within post-democratic societies.
The essay argues that this renewed political engagement – coming from the media arts which have traditionally been rooted in social and community engagement – signs the digital emergence of a post-avantgarde, within which media intertwine, commixt and hybridize, and through which contemporary artivists search and find their own original voice to re-make the political aesthetics of contemporary post-democracies.