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In his book Concerning The Spiritual In Art, written in 1911, Wassily Kandinksy relates the spiritual, inner life of man to art and assigns to it a sense of slow but continuous progression:“The spiritual life, to which art belongs and of which she is one of the mightiest elements, is a complicated but definite and easily definable movement forwards and upwards. This movement is the movement of experience.” 2 Graphically, the spiritual life is represented as an acute-angled triangle that is “moving slowly, almost invisibly forwards and upwards,” progressively acquiring and large-scale group exhibitions are usually presented as meeting points of the current trends in art. Still, in these events one form of contemporary art is usually underrepresented or even ignored. New media art, which uses digital tools and reflects on the effects of technology in our culture, is paradoxically disregarded in the discourses of mainstream contemporary art, which usually address the connections between artistic creation and the world we live in. 5

This contradiction can be stressed by asserting that, if contemporary art is conceived of as reflecting the spirit of our time, new media art has literally addressed the Zeitgeist in the form of data flows that traverse our global information networks. If the cultural, social and political climate of our era can be portrayed, surely one of the most adept means nowadays is by extracting real-time informa-