Man is not able to live without value judgments, which are translations of inherited meanings. They were once mystical or divine, but today their paradigms, which tend to be global, are experience and sensitivity. And that is why it has been so difficult to apprehend the systematic disintegration of the planet on which we live, and all the international community that we have been trying to build. Political irrationality, governed by finance, rejects the evidence of a global crisis since 1997, (Kyoto Protocol) and today, it is only through private and individual initiatives that this limit issue is imposed. Initiatives that replicate and flourish in this vast field of action, which is the culture of Globalisation. Globalisation grew in the United States, already trapped by the open conflict of the ideological blocs and Star Wars, and moving away from the utopia of global village, that the Canadian sociologist McLuhan, under the influence of new technology, predicted that would become the society of the future. Working as a community of intense oral communication where loneliness would be banned, it was the utopia of the Sixties of the last century, such as in the old societies without writing. Globalisation was, above all, economic and financial, in an unequal system of exploiting advantages. With the globalisation of the Internet, there was an acculturation of trends, brands or pandemics, habits and gestures of industrialisation, leisure, the idea of progress versus the right to happiness and, of course, an individualism of a strong self-esteem. The critical sense of contemporary art reflects this sum of influences, this overthrow of social utopias.
The global paradigm is no longer that of communication, but that of information that brings power, in other words, the world has become a series of algorithms and life turned into data processing. The visual art that partially or totally joined the technological revolution is the micro world of that transformation and, as it seems, will become the creative record of the awareness on the problems of this critical nowadays.
Genesis is all this: the origin or creation and, as in all creations and also in art, genesis succeeds destruction. With each creation new meanings emerge, such as other value judgments, other scientific theories, new myths, new algorithms and, insidiously, also old mistakes and revivals, which delay the meanings of this community of the future that, with its sloppiness and its utopias of happiness, did not want and does not want to lose them. Changes, displacements of nations, effects of catastrophe or perseverance, creation and destruction, - the alpha and omega of a culture - and which, consensually, appear to us as the essence of the new visual arts.