I think that the so-called "digital art" is a kind of multi-trick art. Its particularity lies in the fact that it depends more on and uses digital technology, so I still treat it as a multimedia art. What I am more concerned with is the question of the “legitimateness” of this artistic art, that is, what is the artistic quality of this art.

The main features of multimedia art are reflected in the following points:

First, it has strong virtuality. This kind of virtuality is manifested in constructing non-real illusions through the art of devious bodies, giving untrue imaginary and fiction to the current issues;

Second, it is profoundly conceptual;

Third, it has a wide range of public nature. Multimedia art uses television, video, Internet and other means to actively invest in popular culture and consumer culture. It has gone out of personal privacy and narrow sense, and has a strong influence on public culture.

Fourth, it has a strong timeliness and popularity. Multimedia art is often good at grasping fashion topics and cultural hot issues, reporting and disseminating them in a timely, effective and fast manner. Its artistic symbols can easily be integrated with popular culture, thus becoming an avant-garde and avant-garde artistic style.

The effectiveness and success of multimedia art is bound to emerge in a systematic cultural structure and network. So establishing an ecosystem is particularly urgent. Official recognition and acceptance are very important;
Second, it relies on money capital. Planners, sponsors, art companies, and galleries also have a great influence on it.

Third, how to make multimedia art and mass culture organically resonant and form an effective virtuous circle is also an unavoidable issue.

In other words, it should handle the relationship between the elite consciousness and the popular culture, not to extremes, to achieve a symbiotic, coexistent cultural state. The current generalization and popularity of aesthetics not only affect the superficial aspects of daily life, it also permeates into deeper cultural structures.

Aesthetics no longer only belong to the ivory tower, its object is no longer just a "spirit of beauty", or postmodern Muse of entertainment, but it is still a new understanding of the reality. This kind of cognition originated in a kind of generalized and open aesthetic sense. The “aesthetic” refers not only to beauty and truth, but also to virtuality and variability. Interaction is virtual. A manifestation of sexuality and variability. We can determine that virtuality and variability are the post-modern features of media culture. The essence of aesthetics is to change people's living conditions. Therefore, it is not advisable to take into account the content and the aesthetic attitude of the form. The highest realm of aesthetics is still to change the alienation of social reality and human values, improve the quality of human life and aesthetic standards, its ethical purpose is self-evident. Aesthetics must go beyond the topic of art ontology, cover daily life and traditional culture, eliminate the contradiction between aesthetic and anti-aesthetic, art and anti-art, and form an ecological aesthetic system.

Postmodern art is neither the so-called auditory culture of Wolfgang Welsch nor the visual culture of Frederick Jameson, nor is it the touch culture and visual culture advocated by Walter Benjamin. Post-modern art is a complex culture that integrates auditory culture, visual culture, and tactile culture. Therefore, multimedia art is a strong evidence of this theory. Because of its complex and diverse nature, it represents a new trend in the development of contemporary art. (Huang Danhao)