Digital aesthetics defines a disparate and extremely broad set of aesthetic practices. The defining feature of the manifestos archived in this category is that the art practices they describe are created with and by digital technologies, and are most often showcased online.


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Items in Collection

Name Description Tags

Afrosurreal Manifesto, by D. Scot Miller, 2009

D. Scot Miller's manifesto argues that "excess as the only legitimate means of subversion, and hybridization as a form of disobedience" in his Afrosurreal Manifesto. His manifesto results in a contrarian and fluid concept of black life that manifests in a rococo aesthetic.

Metamodernist Manifesto, by Luke Turner, 2011

Luke Turner's "Metamodernist Manifesto" attempts to define and embody the contradictory spirit of the digital age. By proposing a pragmatic romanticism for all forms of digital interaction, Turner valorizes a "scientific-poetic" synthesis in and for all contemporary forms of life. Digital Aesthetics, Metamodernism

The 3D Additivist Manifesto, by Morehshin Allahyari & Daniel Rourke, with sound design from Andrea Young

"The 3D Additivist Manifesto" is an accelerationist call to arms, valorizing subversive practices of making in and across a diversity of anthropomorphized milieus. Citing disciplines and practices as varied as anarchist environmental anthropology, 3D printing, hacking, and body modification as possible modes of resistance, additivism proposes to move human beings to "to an aftermath whence all ... 3D Additivism, Making

The Cybertwee Manifesto, by gabriella hileman, violet forest, and may waver, 2014

"The Cybertwee Manifesto" valorizes emotion, empathy, and sentimentality as it also affirms a technologized vision of the body. Its author(s) are fragmented and multifaceted bbs. Cyberfeminism, Cybertwee, May Waver

A Manifesto for Music Technologists, by Nancy Baym, 2014

In her "A Manifesto for Music Technologists," Nancy Baym argues that music technologies can function as means of world-building. Her manifesto is thus a point of connection, allowing like-minded music technologists to connect and produce better worlds.

Cyberpunk Manifesto, by orgullo

orgullo's "Cyberpunk Manifesto" is a visual articulation of cyberpunk philosophy and ethics.

RiP: A Remix Manifesto, by Brett Gaylor, 2008

"Rip: A Remix Manifesto" is an open source documentary on issues of copyright. The documentary was written and directed by Brett Gaylor. Creative Commons, Copyright, Copyleft

EDM Culture: An Incomplete Manifesto For The Modern DJ, by Chris Alker, 2013

In his "EDM Culture: An Incomplete Manifesto For The Modern DJ," Chris Alker offers 30 propositions for the production and performance of electronic dance music. Electronic Dance Music

Towards a New Classical Music Culture, by eidelyn, 2011

"Towards a New Classical Music Culture" is a manifesto that addresses the politics surrounding the contemporary 'crisis' in classical music. As a whole, the manifesto is a reformist document that emphasizes new electronic approaches to the creation of classical music. Electronic Music, Classical Music

Manifesto, by thesuper, 2014

Manifesto, by thesuper, is an 8-bit demo that both features 8-bit aesthetics and criticizes low-fi Internet technologies. Digital Aesthetics, 8-bit

Manifesto for Electronic Music, by Rafael Toral, 2012

In his "Manifesto for Electronic Music," Rafael Toral argues for electronic music's cultural emancipation, characterized by "the appreciation of a genre by its formal, aesthetic and spiritual characteristics, regardless of the type of instrumental resources used." Cultural Emancipation, Electronic Music


The authors of "Media Art Needs Global Networked Organisation & Support – International Declaration" advocate for the preservation of media art. It calls for the creation of international funding structures and institutional support to meet this growing need. Media Archaeology, Digital Preservation

Mutation Manifesto Part I & II

Orryelle's "Mutation Manifesto Part I & II" meditates on our capacity to mutate. The manifesto focuses specifically on our ability to incorporate other parts of nature and new technologies into our lives and bodies. Transhumanism, Digital Aesthetics

Manifesto of the Obsolete: Photo/sculpture Project, by Sketchy Doodler, 2014

Manifesto of the Obsolete: Photo/sculpture Project By Sketchy Doodler Manifesto of the Obsolete Henceforth we will not go blindly into the dump. We will not be subjugated to the recycling bin or thrift store. We will sustain ourselves, and not let our young fall victim to your mediocre propagation practices. We will rise, and we will endure. PS: Be afraid, be very afraid, we are... Media Archaeology, Digital Aesthetics

Free Font Manifesto, by Ellen Lupton, 2006

In her "Free Font Manifesto," Ellen Lupton advocates for free and open source typeface. Digital Composition, Digital Design, Open Source

ADF Manifesto, 2010

The "ADF (Anti-Design Festival) Manifesto" accompanied a UK-based design event meant to challenge professional and disciplinary norms concerning the practice of digital design. Opposed to the reduction of design to profitability, the authors of the "ADF Manifesto" challenge its readers to "design dangerously." Digital Design, Anti-Design

Ghost Manifesto, by Francesca da Rimini, 1998

Francesca da Rimini's "Ghost Manifesto" is a compilation of aphorisms taken from a multitude of authors. Claiming, "All women are ghosts and should rightly be feared," da Rimini lends an ephemeral and cryptic voice to the expression of cyberfeminism. cyberfeminisms

Digital Storytelling Manifesto, 2013

The authors of the "Digital Storytelling Manifesto" give a structure and a politics to the digital art and design community in Quebec. Digital Aesthetics, Digital Storytelling

The Affectivist Manifesto, by Brian Holmes, 2008

Brian Holmes' "The Affectivist Manifesto" furthers an understanding of how art and everyday life coproduce each other by theorizing the interrelation of digital technology and affect. Digital Aesthetics, Affect

Manifesto for a Theory of the 'New Aesthetic', by Curt Cloninger, 2012

In his "Manifesto for a Theory of the 'New Aesthetic,'" Curt Cloninger argues for a new way to understand aesthetics as such. Heavily influenced by thinkers like Gilles Deleuze and Alfred North Whitehead, Cloninger describes as aesthetic relationship among humans and things that their entanglement and coproduction. Digital Art

The Mundane Afrofuturist Manifesto, by Martine Syms, 2013

In her "The Mundane Afrofuturist Manifesto," Martine Syms argues for and expresses a mode of world-building that opposes imperialism, capitalism, and white patriarchy. Situating her argument at the intersection of critical race theory, science and technology studies, and science fiction, Syms' "The Mundane Afrofuturist Manifesto" is novel intervention in digital aesthetics. Digital Aesthetics, Afrofuturism, Race

Extropic Art Manifesto of Transhumanist Arts, by Natasha Vita-More, 1997

In her "Extropic Art Manifesto of Transhumanist Arts," Natasha Vita-More theorizes art as something more than an artifact; art is a living, transformative practice that molds everyday life. In this way, the technologies that allow for new art forms to be created also allow for the creation of new forms of life. Transhumanism, Digital Art

Manifesto: A Manifesto for Art in the Age of the Internet, by Antoinette LeFarge

In her "Manifesto: A Manifesto for Art in the Age of the Internet," Antoinette LeFarge calls for art to circulate outside of and beyond the gallery as other forms of knowledge circulate. Open Access, Digital Art, Creative Commons

Introduction to (1994-1999), by Natalie Bookchin & Alexei Shulgin, 1999

In their coauthored "Introduction to (1994-1999)," Natalie Bookchin and Alexei Shulgin describe a digital aesthetic that prefigures contemporary glitch art. They advocate for a DIY ethos and the creation of decentralized, non-hierarchical communal relations in digital environments. Digital Art, Glitch Art

The anti-preneur manifesto, by Danielle Leduc, 2013

"The anti-preneur manifesto" concerns what processes of self-making are available in a world defined by the intersection of digital technology and capitalism. Danielle Leduc, the manifesto's author, claims, "I want to be a curator of myself," at a remove from capitalism and the ends to which it deploys digital technology. Aesthetics, Anti-Capitalism, Digital Personhood

Manifesto Amplificato del Arte Digitale Figurativa (Figurative Digital Art Enhanced Manifesto) 2.2, by Massimo Cremagnani, 2010

Developed as a decalogue, Massimo Cremagnani's "Figurative Digital Art Enhanced Manifesto" works to describe the relation of the digital artist to digital art--a relation that is both dynamic and interactive. The phrase "figurative digital art" is therefore 'real' and 'virtual' in the sense that it simultaneously defines and extends beyond the artistic boundaries it establishes. Digital Art

Headmap Manifesto, by Ben Russell, 1999

In his "Headmap Manifesto," Ben Russell articulates the social implications of location aware devices. Influenced by thinkers like Hakim Bey, Russell conceives of location aware devices as a force of resistance and autonomous social organization in the face of state-sponsored cartography. Digital Art, Locative Media

Art Manifesto, by Drew Wilson, 2009

In his "Art Manifesto," Drew Wilson declares that art is a virtual enterprise. While he is concerned with art in general rather than digital art, Wilson develops a concept of artistic production that moves from the intangible to the tangible, and valorizes experimentation. Digital Art, Tactical Media

BLF Manifesto, by Jack Napier & John Thomas

To Advertise is to Exist. To Exist is to Advertise. These are the tenets of the "BLF Manifesto." Operating in a lineage of Debord's 'derive' and the "culture jamming" movement, the authors of the "BLF Manifesto" outline the group's attempt subvert the profusion corporate advertising. Digital Art, Billboards, Advertising

Digital Art Manifesto 1.0, by Shawn Rider, 2002

In his Digital Art Manifesto 1.0, Shawn Rider attempts to establish a series of rules for the production, reception, and archival of digital art. Rider places emphasis on experimentation and the primacy of the artist. Digital Art

Real Time Art Manifesto, by Auriea Harvey & Michaël Samyn, 2006

In their coauthored Real Time Art Manifesto, Auriea Harvey and Michaël Samyn champion realtime 3D game technology as an artistic medium. Harvey and Samyn provoke their readers to share and create total digital experiences with complex narratives. Digital Art, Gaming

The "Digital Age" Artist's Manifesto, by Joel Watson, 2008

In his "The 'Digital Age' Artist's Manifesto," Joel Watson outlines the problems of exposure that a digital artist inevitably faces when their art is showcased online. Arguing for a more direct relationship between the artist and the consumer, Watson defines the Internet itself as a kind of gallery where digital art can be created and shared. Digital Art

A Digital Artist's Manifesto, by Bob Griffin, 1996

In his A Digital Artist's Manifesto, David Griffin discusses the uses of computer technology in art production and the compositional novelties that computers allow when art is produced digitally. Importantly, Griffin hails dissimulation as the foundation of digital imaging here, underscoring the notion that the computer's content is completely malleable. Digital Art

The Glitch Studies Manifesto, by Rosa Menkman, 2010

In her Glitch Studies Manifesto, Rosa Menkman both describes and provides a critical vocabulary for understanding glitch art. The glitch aesthetic is broad, but Menkman sums up the genre well, claiming that glitch art "is often about relaying the membrane of the normal, to create a new protocol after shattering an earlier one." Digital Art, Glitch Art

The Fractal Art Manifesto, by Kerry Mitchell

In The Fractal Art Manifesto, Kerry Mitchell attempts to define fractal art, rather than a computerized art without human input, as an expressive and creative artistic endeavor. Digital Art, Fractal Art

Transhumanism Art Manifesto, by Natasha Vita-More, 2003

In her Transhumanist Art Manifesto, Natasha Vita-More plays off of the 1983 Transhuman Manifesto, arguing that aesthetics are merging more fully with science and technology. In particular, Vita-More understands a transhumanist aesthetics to enhance personal understanding and extend life. Transhumanism, Digital Art

One Half A Manifesto, by John Lanier, 2000

In his One Half A Manifesto, John Lanier forwards six propositions, ultimately outlining a concept of cybernetic totalism. Perhaps most provocatively, Lanier claims that "people are no more than cybernetic patterns," producing a vision of the world in which humans are subject to computer processes at a biological level. Digital Anthropology, Cybernetics