As a director of Artmedia, he developed an intense activity of promotion of neo-technological art and contributed by arranging many conferences and events in Naples, Paris, Köln, Toronto, Tel Aviv and São Paulo.

His theoretical work followed two main paths of research: 1) the socio-political and philosophical interpretation of the 20th-century artistic avant-garde, and 2) the development of a philosophy of technique, through the analysis of the changes introduced by new technology into art and aesthetics.

He argued that the excess from which any manifestation of the sublime comes from is represented by all the new electro-electronic and digital technology of image, sound, writing, communication, and spaces.

[20][21] According to Costa, the whole theoretical apparatus developed by traditional aesthetics, from the 18th century, has become completely obsolete and useless to understand the present manifestations of art.

He concluded that technological fluxes may also highlight essential aspects of contemporary ontology, being closely tied to our experience of time and existential attitude.