The metaphysical interrogation of the digital image shows a fixation with its self-referential idolatry. As philosopher Jean-Luc Marion argues, the technological manipulation of the image reached a point where it objectifies human identity by blocking the access to real, creative experiences of new phenomena. But the question is how to understand creativity in light of an ongoing quest for innovation of the omnipresent televisual screen? I propose to research the evocative limits of the digital image in making present an original/historical event by using the Byzantine theory of Chorography (chôra/space + chorós/movement) in conjunction with interactive art theory. Taking my cue from Nicoletta Isar’s performative inquiry into how chôraic movements echo within contemporary art, the goal of this research-creation is to advance a new, Byzantine way of seeing the creative possibilities of the digital media by writing the first chorographic study devoted to interactive art installations.

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