Conclusion
know are largely digital. Artists, among those who like to shift the lines, are playing such transformations by adopting, in art, the visual codes of companies. Others, with less “corporate� and more political attitudes, adopt the postures that are those of the whistle-blowers by drawing our attention to the particularly opaque spheres of the economy and finance where data scientists are kings. Today, utopia is no longer architectural as it was during the Enlightenment, but monetary in the era of bitcoin, among other crypto-currencies, when far from the values of work, there are those of sharing and giving that digital technology only amplifies. Since offers are only a click away there’s no reason, depending on the transfer, to deprive oneself. Partici-
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pative artists can thus consider the actions of groups, of which they know not even the general outlines. Digital cultures constitute so many languages, far beyond programming languages. They have the flexibility of the dialects that their users transmit themselves, mixing artists with non-artists. Certain social or societal themes, such as global surveillance, are gradually fading from the radar of our concerns, although we have never been so closely watched. This would be without counting on artists and other hacktivists to remind us, or when surveillance, of whose relative invisibility we are aware, assuDominique Moulon
mes an aesthetic form. At the same time, certain themes, such as ecology, are re-emerging under the impetus of innovation technologies and networks in this third industrial revolution. There is then a form of eco-art that would fit into the proximity of eco design. Artists very much favour the idea of a world where we would be more responsible, as opposed to innovative