Is the era of technological art one of authentic creation, or of imitation taken to its extreme?
What can be said about LXKeys? Is it merely another platform, exploiting the infinite possibilities offered by new technologies, particularly artificial intelligence, or is it a true innovation, a vector of transformation that could radically redefine not only the conception of art, but also its representation in the future? This question resides at the crossroads of two extremes: one where LXKeys is just another tool among many, lost in the sea of technological initiatives, and the other where this same initiative represents a turning point in how we perceive creativity and human subjectivity. These two fields of possibility challenge each other, respond to one another, and open up endless reflection. So, what is the reality?
The recent emergence of data processing techniques has led to the appearance of numerous new players in fields previously reserved for experts. This phenomenon has allowed individuals, sometimes without formal training or expertise, to claim to understand and value complex knowledge. In a world where anyone can claim to be an intellectual, scholar, or specialist, a question arises: are we not surrounded by charlatans, or worse, have we not unknowingly become them in a system where superficiality seems to outweigh true mastery? The irony lies in the fact that, in this era of instant information, the illusion of knowledge is within reach, often devaluing true expertise.
LXKeys: Innovation or Mere Reproduction? Between art and technology, the question stands.
This question deserves careful examination. Where once years of dedication, study, and rigorous practice were required to master an art, today it is enough to have the ability to search for information and assemble it. Basic technical skills are essential, but beyond that—sensitivity, creativity, intuition—seem secondary, even superfluous. In this world where technique and access to information prevail, what remains of true art?
In this reality where the accumulation of knowledge has become more about data management than deepening true craftsmanship, the question of originality is more relevant than ever. What makes us original beings and not mere imitators, capable only of mastering the art of copying, of pastiche, of the fake, of imitation on a scale that now seems almost quantum?
Imitation or Creation? In a world saturated with data, what place remains for artistic authenticity?
At heart, we are of Mimesis, that is certain. Imitation, as a foundational process of human knowledge and creation, is a constant in our condition. The history of humanity is a succession of imitations, whether of myths, rituals, or even artistic works. But has this deep tendency to imitate reached its limits? Have we, in a world saturated with infinite reproductions, crossed a threshold where imitation ceases to be a source of inspiration and becomes a mere mechanical reproduction? The question arises acutely. It drives us to profoundly question our intellectual approach and clarify our intentions. It is essential to understand the meaning of the terms we use at LXKeys, for they manifest the rigor of our approach, which is primarily original and creative.
For yes, we are not charlatans. This statement, though it may seem naive, rests on a firm and deep conviction: we assert with certainty our singularity. We refuse to settle for imitation because we believe that true art lies in the tension between the search for inner truth and the ability to transcend external influences. This assertion, far from being a mere provocation, is a declaration of principle: our approach is based on an authentic vision of creation, not on endless repetition of past models. The creative rigor we impose in every aspect of our development reflects this quest for radical originality.
Many respected thinkers have long reflected on imitation, emphasizing that it is an integral part of our human nature. Imitation is essential to learning, the transmission of knowledge, and the reproduction of cultural models. It is true that it constitutes one of the first forms of interaction with the world, whether through gestures, speech, or art. However, LXKeys refuses to settle for this primary imitation and charts its own course through the labyrinth of human thought. We propose a vision of an absolute idea, an idea that transcends mere reproduction to embody original thought, guided by its own intention. This vision cannot be halted by emerging technological developments or the human propensity to imitate. It asserts itself as an act of autonomous and singular creation, nourished by human intelligence while pushing the limits of traditional artistic representation.
Art, as philosophers define it, is a set of conscious and intentional processes aimed at achieving a certain result, and it is this that drives us in this endeavor. LXKeys, with its unique vocation, seeks to make visible what eludes the eye, to make tangible what belongs to the intangible. We use art in perfect symbiosis with technology, to give form to that mysterious space known as Spatium, the space between things, the realm of the invisible. This paradox—the union of the intangible and the tangible—becomes soluble in the current technological context, where the boundary between matter and the immaterial seems increasingly fluid. It is this possibility of materializing the invisible that motivates and supports our approach, strengthened each day by the conviction that our artistic endeavor is a path to a new understanding of art and its place in the world.
Since the dawn of time, humans have sought to leave a mark of their passage. This desire is encoded in our genes, and perhaps we are merely reproducing the model, without fully understanding its scope. However, it is this search for originality, this creativity that manifests in the way we choose to mark our passage, that constitutes the true signature of the artist. The artist or the charlatan? Between these two poles, only the intention that guides the creation determines the true nature of the work. Who can, without error, judge this intention and the purity of the creative act? The answer is far from simple, and each judgment comes with its own weight of interpretation.
