The influence of mobile phone connectivity on art considered a form of relational aestheticsThe 1990s came with transformation in many aspects of social life, including l 'art. The digitalization of society through the advent of the Internet and the advent of mobile phones has greatly transformed human relationships and society in general. Art and aesthetics have been greatly influenced by the advancement of network technology in society since the 1990s. As Tofts (2005), cultural critic and renowned author on cyberculture, explains in his article entitled FCL-039 tsk tsk tsk & Beyond: Anticipating Distributed Aesthetics, “the social concept of networked community, which concerned us in the 1990s, has its correlative in a particular aesthetic vein” (Tofts, 2005). The mobile phone is one of the key tools that have networked society by increasing connectivity between people. The digitalization and networking of society have not only changed the way art is produced and distributed, but also how it is defined in the context of human relationships. Explaining further, Tofts (2005) highlights that digital forms of art production, distribution and interaction such as the Internet and multi-user platforms, including mobile phones, “have changed the spatial and temporal dimensions of what constitutes an artistic event and a 'experience of it' (Tofts, 2005). This is because in the 1990s the approach to the analysis and categorization of fine art changed from the perception of the artist as a central figure in artistic production to an approach in which the artist is seen as the catalyst, rather than the object in the center. In this article, the influence of mobile phone connectivity on art is considered......the focus of the article......Bourriaud, N. (2002). Postproduction culture as screenplay: how art reprograms the world. New York, NY: Lukas & Stemberg. Bourriaud, N. (2002). Relational aesthetics. Paris: Les Presses du Reel. Farias, G. (2011). Everyday aesthetics in contemporary art. Rupkatha Journal on Interdisciplinary Studies in Humanities, Vol. 3, No, 3, 440-447. Krauss, R. (1978). Video: The aesthetics of narcissism. In J. H. (Ed.), Video Culture: A Critical Investigation (pp. 179-191). New York, NY: Workshop on Video Studies, 1986. McLuhan, M. (1964). "The medium is the message." In Understanding Media: Extensions of Man (pp. 23-35). New York, NY: Signet.Tofts, D. (2005). FCJ-039 tsk tsk tsk & Beyond: Anticipating distributed aesthetics. The Fibreculture Journal, issue 7, available online at: http://seven.fibreculturejournal.org/fcj-039-beyond-anticipating-distributed-aesthetics/.