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Ursula Hentschlaeger
NetWork
1999
If art becomes a synonym for culture,
achievements of culture – which, in this context, means
technoculture in particular – can be stylised into works
of art. The paradox about the transformation sought here is
that this is only what makes it possible to create a link
between innovations, such as technical progress, and human
beings.
As a consequence, structures of technology
and economic policy which can clearly be classified as
sociological in nature reveal their functional strong points as
they incorporate a category that is hard to grasp and can be
applied at random: the myth of art. The insight might not be
new but it is always surprising: art makes "sense".
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BACKGROUND
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ART ON THE WEB
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Ill. Ruth
Schnell: Seeing Language interactive installation, since 1996
(cutout)
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The world of media art is a phenomenon of
the information society as much as it is one of the art world.
More often than not, there is a close connection between a
newly developed medium and its artistic application, and
usually the act of system-specific exhaustion is reserved to
art. Thus, media art in general is always also a reflection of
the state of the art in technology and as a consequence, it
cannot be considered as something apart from the underlying
technology. In this context, the discussion rarely focuses on
how many specific programme applications are turned into
advanced media productions thanks to current art projects only.
Conversely, when artistic production has repercussions on
public research, this is praised as a meaning-giving success of
media art. However, is this still about the possibility of
probing "new" opportunities? The attempt to drive art
via basic research turns out to be problematic here.
The questions ought to be reworded as
follows: What are the developments software juggernauts are
unable to provide for, and what are the art strategies or
self-created worlds which can be applied to counteract global
standardisation tendencies?
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PUBLICATIONS
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