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Philippe Marango
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Introduction The digital mixity in the production of art is a notion introduced by Philippe Marango, a multimedia French-born artist based in France. This notion grasps the coexistence of physicality and digitality, the transcultural identity, the recontextualization of crossbred data, the fluid transaction between different forms of media. The mixity as a digital creation process in the production of art Digital mixity The mixity is the key concept of the artistic achievements and it uniquely corresponds to a method which consists in mixing a plurality of encapsulated components destined to form an aesthetic synthesis coming from an admixture of artistic styles, technologies and cultures.The work relies on the mixity of pictures, the mixity of cultures and generations, the mixity of digital techniques and texturizations.In the artwork, the concept of mixity is polysemous. This one brings together the use of interdependent artistic mediums, serial compositions including drawings, digital maquettes, projection performances, video and sculptures, a connection to the Haute Couture, a rejection of all forms of artistic solipsism, the acceptance of the theory of the Wagnerian Gesamtkunstwerk , the implementation of an anamorphic perspective borrowed from Leibniz’s ideology, a new analytic of the beautiful and an apologia for the human body through the multiplicity of designed characters. By using the various latest technologies, by focusing on the interplay between cultural identities and art, by representing many eclectic styles working cohesively, the Digital mixity tends to be proteiform and prolific. From distillation to sublimation There are three phases in the digital creation process. Like a chemist, as an organician compositor, a digital distillation method is used as a fragmentation technique. Distillation or digital rectification is a dichotomic process which enables to separate the various components of a mixture of miscible objects of different origins. So first of all, through the appropriate use of digital technology, a decomposition of 2D objects is performed. In this way, for example, a celestial object like a star, all types of integuments like scales, hair, feathers, skins, nails, some parts of flower like petals and pistils, some electronic components like cables have been removed from their original frames. All the digital objects are moved from their original space, they leave animated and inanimate images in which they were initially hosted. Transferring images is a necessary first step enabling to initiate the recomposition of images. The recomposition method is the second essential step to make merged images together. This way, without any eclectic approach, a variety of different objects such as the human body, parts of flower, integuments, and celestial objects are hybridized.This second phase of creation is called digital syncretism as artworks define itselves like composite compositions characterized by the combination of heterogeneous elements of different origins. The final phase is called sublimation as the intrinsic value of every digital object has always been significantly improved.Ideally redesigned, items are going to blend into a uniform mixity. The mixity of artistic mediums The notion of mixity develops itself through many art practices such as graphic mediums like drawing and painting in classical and digital way, photographic mediums, cinematic forms including video clips, digital or 3D projections on architectural environments. A piece of art will be the result of an osmosis between artistic mediums, a harmonious blend of technological styles. The mixity of artistic genres The priority is given to fashion design, photography and painting. By using the Haute Couture as a graphic, photographic and pictorial medium because it enables to create through a portrait and a scene, actual and virtual potential artworks to repeat the Aristotelian-Scholastic doctrine of act and potency, to ennoble the human bodies by embracing an aristocratic style in its formal structure, independently from social class background, to capture an instant of elegance like the impressionists liked to do it, to participate to the concomitant movements of the art and the contemporaneous society. The mixity of contradictory shapes and spatio-aesthetic categories The concept of mixity resolves the duality between the contradictory shapes and the spatio-aesthetic categories. If two contradictory shapes can participate to a harmonious whole, it’s the same thing for the categories of the beautiful and the ugly which can gain an aesthetic equality, because each of them thanks to its individual force can strengthen the harmony of the whole. The size categories (big and small) can also have an identical dimension, each one thanks to its individual measure is used for raising the value of the whole. Therefore, a work is the result of a homogeneous mixity in which there is both parity and interchangeability between the aesthetic ( beautiful-ugly) and the size ( big-small) categories. Thanks to the digital tool, the use of binary scission configurations such as the macroscopic and microscopic scales is renounced and the schism of the aesthetic categories is overcome. The last step of the creation relies on the sublimation process which leads both to the idealization of contradictory shapes and spatio-aesthetic categories. The body as a vector of mixity The organizational construction of the body is at the centre of the digital mixity. Thanks to an affection for fashion, the body, through a reinterpretation, loses its identity of simple object of representation and appears as a vector of artistic creation marked by a certain apologetic lyricism. A femininity which is asexual, unclassifiable, timeless and sublimated is explicitly affirmed. The composition of a body as a vehicle of creation goes through several steps,notably from the distillation to the sublimation process. First, either a model is photographed or drawn that will be ideally remodeled or again a non-existent body is created by dismembering and collecting digitally the body parts in order to achieve an ideal of uniqueness and eurhythmy. Secondly, a surrealistic revision of proportions is made, for example, by lengthening exaggeratedly a neck size and the nudity is covered, either by means of lighting effects or with a stylized make-up application to warm up the whole body thanks to a subtle play of apparent colors. A special attention is granted to the upper part of the body. Most of the time, the face wears a generous and cold make-up with achromatic lines of khol for eyes and maidenly colors for lips, the hair is dressed in an Haute Coiffure way to create hyperbolic and composite hairstyles which by their volumes express power. Thus, the hairstyles have eccentric and dynamic proportions and they are usually made up of flower pieces, feathers, electric threads… The body dressing (making of the finery) is the final step in the process of body sublimation and is also related to the concept of mixity because it’s made up of miscellaneous materials like the following ones: Anatomical and organic parts of the body like genital organs including ovaries, uterus with fetal matter but also uterine mucous membrane with its glands, viscera Organic fluids and cells such as blood cells, cancerous cells and tumors Vegetable matters like cotton for which he has a tinctorial affinity, wool in the form of draperies and wool renaissance, silk fabrics like prismatic and changeable taffeta Hair, skin elements like human and animal hair, fur, feathers, scales and horns Insects like caterpillars in their enveloping cocoons and butterflies Limbs such as insect and bird wings, membranous appendices like fins and flippers Terrestrial and aquatic flowers like dandelions and sea anemones Aquatic vegetables like water lilies and algae Sea animals like jellyfishes Animal vestiges like fossil shells, exoskeletons like carapaces and corals Plastic and cellulosic matters like bags, cardboards, paper Atmospheric phenomenons such as fog, smoke, clouds, snow, ice The body dressing is consequently the result of a tripartite work, a decomposition, a reshaping, and an idealization of digital shapes. Once created, the dressing is going to objectivy itself and blends into the sublimated body. Existent or non-existent, from its architectural construction to its ornamental phase, the body as a vehicle of the beautiful will be at the same time transformed, deformed, divided, rebuilt, sublimated in advantageous places,either virtual or real but always with ethereal notes. Actual or apocryphal, made or counterfeit, the body, real collection of aggregates of disparate sources and true phenomenon of fashion, becomes the vector of excellence. Thus, the artwork which has an ecumenical style by virtue of its mixity finds its completion in the digital compositing. The work can be appreciated either in real time for digital performances of video or out of time for static artworks. Conclusion The work of mixity of images, techniques and texturizations, cultures and generations is determined to promote an universal analysis of beauty out of politico-ethnic and cross-cultural-generational boundaries. 
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