MANIFESTO FOR THE DIGITAL AGE: Exploring Active Presence, Art, and the Metaverse

Fig1. Echoes of Plato’s Cave: A robot reaches toward the shadows in a luminous cave, drawing a parallel with Plato’s allegory and exploring the intersection of ancient allegory and modern technology in our quest for understanding our realities.

PREAMBLE: Revisiting Plato’s Cave in the Digital Age

Plato’s allegory of the cave (4th century BCE), shadows cast on a wall are perceived as reality by prisoners who have never seen the world outside. Today, this allegory holds renewed significance in our digital age, as we navigate immersive realms of the metaverse and virtual spaces. Here, shadows on the wall take the form of pixels and digital avatars, challenging our notions of reality and self-perception (fig1).

This manifesto proposes that, if used thoughtfully, the metaverse and related digital tools can become transformative spaces for authentic self-expression, ethical creativity, and social engagement. (fig2) As Michelangelo (1475–1564) and da (fig3) Vinci (1452–1519) used Renaissance art to explore the human experience, so can the metaverse expand our creative horizons, becoming a conduit for deeper connections. This digital presence should be active, aware, and rooted in the values of inclusivity, transparency, and artistic integrity.

The Sistine Chapel Ceiling by Michelangelo
Fig2. The Sistine Chapel Ceiling by Michelangelo: A masterpiece of the High Renaissance, this frescoed ceiling, painted from 1508 to 1512, features the iconic scene of the Creation of Adam. Michelangelo’s work blends divine narrative with human emotion, showcasing his skill in anatomy and composition in this sacred space of the Vatican. Source: https://en.wikipedia.org/wiki/Sistine_Chapel_ceiling#/media/File:Sistine_Chapel_ceiling_02_(brightened).jpg
Leonardo da Vinci’s The Last Supper: A Demonstration of Perspective with a Vanishing Point.
Fig3. “Leonardo da Vinci’s The Last Supper: A Demonstration of Perspective with a Vanishing Point. This image illustrates how Leonardo da Vinci used perspective to direct the viewer’s gaze towards Christ, the focal point of the painting. Every line of the architecture converges above Jesus’ right eye, exemplifying the innovation and integration of art and science during the Renaissance.” Source: https://en.wikipedia.org/wiki/The_Last_Supper_(Leonardo)#/media/File:Leonardo_da_Vinci_(1452-1519)-_The_Last_Supper(1495-1498).jpg

01. Active Presence in Digital Spaces

Active presence implies intentional engagement with digital environments, where technology serves as a medium for human expression rather than a substitute for genuine interaction. Renaissance masters like Michelangelo and Leonardo da Vinci employed artistic techniques to capture the depth of human emotion and the complexity of the natural world. (fig4)  Da Vinci’s Vitruvian Man (c. 1490) and Michelangelo’s David (1501–1504) epitomize this pursuit of capturing the essence of human presence and form.

(fig5) In the digital realm, active presence means that users are not merely passive recipients but active participants in crafting their digital experiences. Transparency in digital platforms is essential, as AI algorithms increasingly shape interactions. Just as Renaissance artists aspired to express human ideals, we must strive for digital environments that reflect our core values, prioritizing human agency, integrity, and trust.

Fig5-A. “Reviving the Colosseum in the Digital Realm – This immersive 3D model of the Colosseum aims to create a shared, collective experience for users around the world. Through the interplay of light, shadow, and intricate details, it invites participants to reconnect with ancient history in a decentralized online space, bridging the past with the present in a digital forum for global gatherings.”
source: https://colosseum.social
Fig5-B “Blueprint for a Decentralized Digital Arena – This 3D architectural blueprint reveals the foundation of a collective digital experience of the Colosseum, built for the Metaverse. It showcases the technical precision that underpins this online gathering space, where each element is crafted to enable users worldwide to experience and contribute to the rich legacy of Rome, fostering a decentralized community.”
source: https://colosseum.social

02. Art and Imagination: From Drawing Hands to Virtual Creativity

(fig6) Throughout history, artists have explored the boundaries of perception and reality. M.C. Escher’s Drawing Hands (1948), where two hands draw each other into existence, captures this concept of recursive creativity—a cycle of creation and reflection. In the metaverse, artists work with algorithms in a similar interplay, generating art that is both human and machine-made, expanding the concept of creative collaboration.

The Renaissance revolutionized art through innovations like linear perspective and chiaroscuro. Artists like Caravaggio (1571–1610) pushed these techniques further, introducing dramatic contrasts of light and shadow, as seen in works like (fig7) The Calling of Saint Matthew (1599–1600). Today’s digital art builds on these principles, using real-time rendering and generative techniques to create immersive experiences that evolve with each interaction. This interplay between artist and algorithm mirrors the collaborative process of creation, offering a new realm for dynamic artistic expression.

Fig6. “Drawing Hands” by M.C. Escher, 1948. This iconic drawing captures a visual paradox where two hands emerge from the paper to draw each other in a continuous cycle of creation and existence, invoking questions about reality and creation akin to those explored in simulations like the metaverse.
source: https://en.wikipedia.org/wiki/Drawing_Hands
Fig7. “The Calling of Saint Matthew” by Caravaggio, 1599-1600. This dramatic painting depicts the moment Jesus calls Matthew to follow him, illuminated by a divine light that symbolizes divine intervention. The striking contrast between light and shadow, along with Caravaggio’s masterful use of chiaroscuro, creates a blurred region between reality and the painting, offering an immersive experience.
source: https://en.wikipedia.org/wiki/The_Calling_of_Saint_Matthew#/media/File:The_Calling_of_Saint_Matthew-Caravaggo_(1599-1600).jpg

03. Viewer as Co-Creator: From Audience to Active Participant

Art’s evolution from a passive experience to one of active participation has historical roots. In the Baroque era, Bernini (1598–1680) designed sculptures and spaces, such as (fig8) The Rape of Proserpina (1621-1622), which engaged viewers by drawing them into the dramatic narratives depicted. Similarly, in the digital metaverse, the viewer transitions from an observer to an essential part of the creative process, shaping their experiences through choices and interactions.

The metaverse allows users to become co-creators, influencing the direction and nature of their experiences. This dynamic relationship between the viewer and art mirrors (fig9) the 20th-century Fluxus movement, where artists like Yoko Ono invited the audience to complete the artwork. In digital environments, the viewer’s engagement feeds back into the artwork itself, creating a living, evolving entity shaped by each interaction.

The Rape of Proserpina by Gian Lorenzo Bernini (1621–1622)
Fig8. “The Rape of Proserpina by Gian Lorenzo Bernini (1621–1622) captures a fleeting moment, where Bernini’s mastery of light and shadow not only enriches the visual experience but also transcends space, time, and sight, deeply imprinting on human memory and provoking profound reflections. This work lingers in the viewer’s consciousness like a persistent shadow, echoing through the ages.”
source: https://en.wikipedia.org/wiki/The_Rape_of_Proserpina
Fig9. “Founded in 1961 by George Maciunas, this Fluxus Street Theater performance in 1970 exemplifies the movement’s raw, interactive spontaneity. Influenced heavily by the ideas and practices of composer John Cage and the readymades of Marcel Duchamp, active in Dada from 1916 to around 1922, Fluxus is often described as ‘intermedia.’ Artists like Yoko Ono and Nam June Paik amplify Fluxus’s commitment to blending life and art. These ideas can converge to humanize digital experiences within the metaverse, where virtual and physical realities coalesce.”
source:https://historyofourworld.wordpress.com/2009/12/02/fluxus-fluxus-1995/

04. The Convergence of Virtual and Physical Realities

The metaverse represents an integration of the digital with the physical, where virtual elements blend with tangible reality to create new forms of interaction. (fig10)  Renaissance architects like Borromini (1599–1667) and Bramante (1444–1514) used mathematical precision to create spaces that guided the viewer’s experience. Borromini’s work, particularly in San Carlo alle Quattro Fontane (1638–1641), exemplifies this precision and play with space, guiding the observer’s movement and vision.

Augmented Reality (AR) and Virtual Reality (VR) offer even more immersive experiences, echoing the pioneering visions of filmmakers like Fritz Lang (1890–1976) in (fig11)  Metropolis (1927), who imagined cities blending futuristic and realistic elements. The convergence of digital and physical realms invites us to reconsider the spaces we inhabit, as AR enriches our surroundings with layers of art, information, and expression.

Fig10. “Designed by Francesco Borromini, the intricate dome of San Carlo alle Quattro Fontane in Rome masterfully uses light and architectural genius to blur the boundaries between heaven and earth. Crafted to represent the divine through the play of light, the dome invites viewers to experience a space where architectural artistry and spiritual symbolism subliminally converge, suggesting a seamless integration of physical and metaphysical realms.”
source:https://it.wikipedia.org/wiki/Chiesa_di_San_Carlo_alle_Quattro_Fontane#/media/File:San_Carlo_alle_Quattro_Fontane_(Rome)_-_Dome.jpg
Fig11. “In Fritz Lang’s Metropolis, the omnipotence of machinery is symbolized through stark contrasts of light and shadow, creating illusions of volume and depth within the cinematic space. These scenes employ chiaroscuro techniques not new to 1927 but reflective of the Renaissance’s embrace of science, art, and philosophical exploration. The sharp contrasts and shadow play intensify the drama and mystery, adding emotional and visual depth reminiscent of works by masters like Leonardo da Vinci, Caravaggio, and Rembrandt. Here, technology and art converge, mirroring the Renaissance spirit that recognized humans not as the universe’s center but as integral parts of a vast, explorable cosmos.”
source: https://www.re-thinkingthefuture.com/rtf-architectural-reviews/a6188-an-architectural-review-of-metropolis-1927/

05. Ethical Considerations: Identity, Ownership, and Privacy in the Digital Realm

The rise of digital identities, avatars, and virtual assets introduces questions of ownership, privacy, and authenticity. Artists like René Magritte (1898–1967) challenged concepts of representation with works such as The Treachery of Images (1929), reminding viewers that a representation is not the object itself. This tension is echoed in digital spaces, where avatars are both extensions and abstractions of the self. (fig12) 

Blockchain technology provides new avenues for ownership and authenticity in digital art, allowing creators to retain control over their works. Yet, as digital environments evolve, we must ensure that privacy is maintained, and users’ rights to define and protect their identities are upheld. The ethical questions raised by Magritte about representation resonate deeply in today’s digital landscape, encouraging us to safeguard authenticity and individual autonomy.

Fig12. “‘The Treachery of Images’ (1929) by René Magritte challenges viewers with its semantically puzzling declaration, ‘Ceci n’est pas une pipe’ (This is not a pipe). This iconic work speaks to audiences by reminding them of the mythological narrative of Parla, intertwining the complexities of representation and reality. As the intersection of metaverses with AI constructs new semantic grounds, this painting provokes a self-contained dialogue within the immersive experience, compelling us to question the essence of objects and their digital counterparts.”
source: https://en.wikipedia.org/wiki/The_Treachery_of_Images#/media/File:MagrittePipe.jpg

06. Inclusivity and Accessibility: Designing Equitable Digital Spaces

(fig13) In physical spaces, architects like Le Corbusier (1887–1965) emphasized functionality and accessibility. His designs aimed to serve diverse communities, embedding social utility into architecture. This commitment to inclusivity must extend to digital spaces, where design should prioritize accessibility for all. (fig14) 

Digital inclusivity means crafting environments that accommodate various abilities, cultural backgrounds, and identities. Avatars, interfaces, and virtual spaces must be designed to enable participation by people of all backgrounds and abilities. By adopting inclusive design principles, the metaverse becomes a space where diversity thrives and social equity is promoted, echoing the Bauhaus movement’s commitment to accessible, socially aware design.

Fig13. “Le Corbusier’s visionary ‘Ville Radieuse’ (The Radiant City) plan, first presented in 1924 and never built, epitomizes the architect’s utopian ideals for urban living. Emphasizing functionality, sunlight, green spaces, and free circulation, it proposed an inclusive and accessible city layout that continues to inspire modern urban design. As we design digital spaces today, these principles can guide the creation of equitable virtual environments where accessibility and inclusivity enable all users to interact seamlessly and meaningfully.”
source: https://www.archdaily.com.br/br/787030/classicos-da-arquitetura-ville-radieuse-le-corbusier
Fig14. “In this visionary depiction of a digital metaverse, diverse avatars are seamlessly interconnected, symbolizing a collective consciousness that bridges physical and virtual realities. This futuristic realm, where human minds are digitally linked, embodies the manifesto’s ideals of unity and technological harmony, inviting us to imagine a world where humanity transcends traditional boundaries.”

07. Sustainability in the Digital Age: Inspired by the Arts and Crafts Movement

(fig15) The environmental impact of digital technology is significant, and the metaverse’s infrastructure requires careful management. The Arts and Crafts movement, led by figures like William Morris (1834–1896), emphasized sustainable practices and the value of craftsmanship. Today, the energy demands of data centers, blockchain systems, and digital production highlight the need for an environmentally conscious approach to virtual worlds.

Sustainable design in the metaverse involves energy-efficient technologies and eco-friendly infrastructure. By prioritizing green energy and reducing digital waste, the metaverse can serve as a model for environmentally responsible development. This approach ensures that the digital future respects and preserves our natural resources, honoring the environmental ethos of movements like Arts and Crafts.

Fig15. “Rejection of the Machine: This depiction of the Industrial Revolution symbolizes the environment that the Arts & Crafts movement stood against. Initiated in England during the late 19th century, the movement celebrated traditional craftsmanship and aesthetic integrity as a protest against the mass-produced goods of industrial manufacturing. The movement inspires contemporary technological advancements to integrate rather than replace the human touch, promoting a harmony of artisanal beauty and quality.”

08. Cross-Disciplinary Collaboration: A Renaissance for the Digital Age

The Renaissance was a period of intense cross-disciplinary collaboration, where artists, scientists, and thinkers like da Vinci fused knowledge from various fields to create groundbreaking works. Today, the metaverse brings together experts from computer science, visual arts, psychology, and philosophy to craft immersive digital experiences.

This collaborative spirit enables the metaverse to transcend its entertainment origins, becoming a platform for education, healthcare, and artistic exploration. By embracing a cross-disciplinary approach, the metaverse reflects the Renaissance ideal of blending art and science to enrich human experience and understanding. (fig16) 

"Where Tradition Meets Innovation: This image captures a figure reminiscent of historical wisdom set against a backdrop of advanced digital environments
Fig16. “Where Tradition Meets Innovation: This image captures a figure reminiscent of historical wisdom set against a backdrop of advanced digital environments. It represents the seamless integration of historical knowledge with cutting-edge technology, highlighting the manifesto’s advocacy for a digital space that both preserves and advances human creativity and intellect.”

09. Toward a Responsible Digital Future

(fig17) As architects of the metaverse, we bear the responsibility of shaping a future that upholds transparency, inclusivity, and ethical engagement. Just as Enlightenment thinkers like Immanuel Kant (1724–1804) championed reason and autonomy, today’s digital architects must ensure that the metaverse serves the public good, protecting user rights and fostering trust.

A responsible digital future respects individual privacy, promotes ethical design, and encourages inclusive participation. In this vision, the metaverse is not just a platform but a shared space that enhances creativity, connection, and personal growth, inviting users to explore new dimensions while remaining grounded in human values.

"Philosophical Synthesis in the Digital Age: This portrait merges Immanuel Kant (1724–1804), a pivotal figure in Enlightenment thought, with the symbolic digital streams of the 21st-century information age
Fig17. “Philosophical Synthesis in the Digital Age: This portrait merges Immanuel Kant (1724–1804), a pivotal figure in Enlightenment thought, with the symbolic digital streams of the 21st-century information age. The fusion of Kant’s visage with electronic circuitry and data code exemplifies the ongoing dialogue between 18th-century rationalism and contemporary digital complexities, challenging us to contemplate the ethics of technology through the lens of Kantian principles.”

Conclusion: The Metaverse as a New Canvas for Human Imagination. Toward a Responsible Digital Future

(fig18) The metaverse represents a new canvas for artistic and social exploration, offering possibilities for creativity, interaction, and connection that are as transformative as the invention of the printing press or the rise of cinema. Like Plato’s prisoners, we stand at the entrance of a new reality where digital spaces can either confine or expand our understanding of self and society.

This manifesto envisions a metaverse that reflects the highest aspirations of art and society—one that is vibrant, inclusive, and fundamentally human. By promoting active presence, embracing ethical practices, and fostering sustainable innovation, we can shape a digital future that honors the depth of human creativity and the richness of shared experience. As R. Buckminster Fuller said, “We are called to be architects of the future, not its victims.”

Let us, therefore, build a metaverse that empowers, inspires, and unites, transforming this digital realm into a powerful force for collective growth and imagination. To achieve this, we must suspend disbelief, open our minds to this new dimension, and allow it to become a space of real meaning and true presence. Just as the Città Ideale paintings once envisioned an idealized, harmonious urban landscape, we can strive to construct a metaverse that embodies our highest ideals and aspirations—a digital città ideale for a connected age.

"Reflections of Utopia: As the sun sets, geodesic domes mirror the ideals of Leon Battista Alberti’s Città Ideale (1404-1472), blending visionary architecture with the pulse of the digital era.
Fig18. “Reflections of Utopia: As the sun sets, geodesic domes mirror the ideals of Leon Battista Alberti’s Città Ideale (1404-1472), blending visionary architecture with the pulse of the digital era. This scene captures the essence of our manifesto, where technology enriches human spaces with interactive, colorful expressions of community and innovation, embodying a modern, digital interpretation of the Renaissance pursuit of harmonious urban environments.”

References

1. Plato. The Republic. Translated by G.M.A. Grube, Revised by C.D.C. Reeve, Hackett Publishing Company, 1992. Originally composed around 380 BC.

2. Michelangelo Buonarroti. Various works and contributions to Renaissance art, 1475–1564.

3. Leonardo da Vinci. Notebooks. Edited by Irma A. Richter, Oxford University Press, 2008. Originally composed 1452–1519.

4. Escher, M.C. Drawing Hands. Lithograph, 1948.

5. Caravaggio. The Calling of Saint Matthew. Oil on canvas, Contarelli Chapel, San Luigi dei Francesi, Rome, 1599–1600.

6. Bernini, Gian Lorenzo. The Ecstasy of Saint Teresa. Marble sculpture, Cornaro Chapel, Santa Maria della Vittoria, Rome, 1647–1652.

7. Ono, Yoko. Contributions to the Fluxus movement, performances and artworks, circa 1960s.

8. Lang, Fritz. Metropolis. Film directed by Fritz Lang, Universum Film AG, 1927.

9. Magritte, René. The Treachery of Images (Ceci n’est pas une pipe). Oil on canvas, Los Angeles County Museum of Art, 1929.

10.Le Corbusier. Various principles of modern architecture, writings and buildings, 1887–1965.

11. Morris, William. Key writings and contributions to the Arts and Crafts movement, late 19th century

12. Kant, Immanuel. Critique of Pure Reason. Translated by Norman Kemp Smith, Macmillan, 1929. Originally published in 1781.

13. https://www.artesvelata.it/citta-ideale-leon-battista-alberti/

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