Media Art
Net 2 Key Topics / Medien Kunst Netz 2
Thematische Schwerpunkte
by Rudolf Frieling and Dieter Daniels,
Editors / Hrsg.
SpringerWien, Austria, 2005
320 pp., illus. b/w. Trade, (English/German)
EUR 49,00
ISBN: 3-211-23871-9.
Reviewed by Martha Patricia Niño
M.
Pontificia Universidad Javeriana
Facultad de Artes Visuales
Colombia
ninom@javeriana.edu.co
This book has a collection of essays around
media art that is the continuation of
Media Art Net / 1, Survey of Media
Art. These books are the physical
counterparts of the well-known portal
http://www.mediaartnet.org an extensive
resource of Media Art that compiles critical
descriptions of over 1400 artworks by
approximately 1000 artists. The project
started in 1998 and is commissioned by
Goethe-Institute and ZKM Center for Art
and Media Karlsruhe.
Sound & Vision in the Avant-garde
& Mainstream by Dieter Daniels
analyses the perception realm that mediates
the transformation of data into meaning.
After years of studying the synaesthesia
phenomena, neurobiologists found that
perception is the place in which sound
and image can interact in ways that challenge
technology and physics. The chapter also
has a historical commentary of future
art predicted by Wagner and looks over
the almost forgotten invention of the
first synaesthetic apparatuses in the
early twentieth century.
The Mythical Bodies chapter by
Verena Nuni
transcends the
fear of the body's obsolescence in order
to analyze the post human relation with
subjectivity. Microscopic, cellular, bioorganic
or even code-based entities dethrone the
human as the central piece of creation.
In such social scenario, new conceptions
of the subject should emerge. Bodies are
described also as maps of power and identity
that can eventually be constructed from
our social perceptions and projections
that fuse reality and fiction together.
There is also interesting documentation
about the promises of monsters in relation
to the creative act, artificial humans,
interfaces, and the imperatives of anthropomorphism.
The Photo/Byte chapter by Susanne
Holschbach points to the chemo-optical
properties of photography and its promise
not only to represent reality but also
to being able to verify it. Digitalization,
in contrast, is linked to the idea of
intentionally fading away any external
reference to reality and, as a result,
the individual's power of judgment. The
latter situation can be seen as a loss
of power that is in direct relation to
a cultural revolution that might be responsible
for the death of photography and discussions
about the photographic and post-photographic
truth. Photography was among the first
media to introduce the current and unavoidable
events of mediation, mechanical reproduction,
and key issues unresolved such as whether
the consumer is a producer or the producer
is a consumer.
Read_Me, Run_Me, Execute_Me by
Inke Arns is one of the most attention-grabbing
essays of the book that wonders if code
has an audience outside the machine it
addresses or has an existence outside
a set of computer literate experts. Generative
art for Arns is a practice that has to
comply with efficient and elegant code.
It focuses only on software. Many generative
art works are concerned, if not blindly
fascinated, with the superficial result
that the software produces, while as a
tool, is not in itself questioned. These
automatic processes, thus, negate the
intentionality of the artist. Software
art, instead, enables a reflection on
both software and its cultural and social
significance within the medium of software.
The code seeks the equilibrium between
randomness and control and is excessive,
extravagant, anti elegant, and experimental.
Far from being just art for machines,
it is highly concerned with artistic subjectivity
and its reflection and extension into
generative systems.
Inke Arns traces the boundaries between
software art and generative art in a polemic
way because even if software art can have
lots of elegant codes, and there are abundant
sites full of graphical algorithms for
creating beautiful generative graphical
effects, some artists refuse to make products
suitable for the dead end-commodity of
art as explained at the site and discussion
portal http://www.generative.net.
Generative
artists should be aware of the new conditions
of authorship and with it control and
subjectivity, and the cultural implication
of the production of such mediated creativity.
The book 4x4 life and Oblivion: Generative
Design gathers generative artwork
that questions software as a tool.
Constructing Media Spaces by Josephine
Bosma explores the topic of public domain,
activism, communication and freedom of
expression. Is public Domain a myth? Which
are the roles of physical interfaces,
software, and media installations to achieve
greater social engagement toward issues
of openness, generosity, collaboration
and political awareness? Bosma illustrates
the work of many activists, artists and
online spaces of discussion that include
Heath Bunting, Mongrel, Elisa Rose Gary
Danner, Etoy, RT Mark, Jaromil, The Thing,
Rhizome, Nettime, Runme.org, to name a
few.
Archive, The Media, The Map and the
Text by Rudolf Frieling indicates
how maps have served colonial interests.
A map is not just a cognitive instrument
but also a step in the competition for
economic advantage and power. Data loss
is inherent to the archive or database
and implies discarding and not finding
again. Maps and texts can configure knowledge.
It would have been great to have also
in the book a reference to what practices
are necessary in order to configure media
history. Gregor Stemmrich at the beginning
of the book raises the question of how
the history of media art can be conveyed
in digital space in such a way that our
awareness of history is not corrupted
by digital space. One can question also
how to make history out of an "impure"
or hybrid medium characterized by challenging
our notions of space, reality, perception,
time and memory. This book provides a
temporal frame for media art that starts
from 1870 to date. Not an easy task if
you consider that this occurs in a cultural
and commercial context that favors the
new as more important than the old. Both
history and maps are more than a collection
of chronological ordered events; it implies
selection, accident, randomness, construction,
narrative, and even fiction. The reflections
about new media make the whole project
more than a good encyclopedic resource;
in congruence with Bosmas writing,
free online access to database material
is not an accessory but a central part
of the Media Art Net site. The book has
few illustrations, but you can find online
wide-ranging audiovisual complements that
are being updated on a regular basis and
that can be accessed through a search
engine and/or indexes. It also has a useful
manual of icons that help you to identify
along the pages of the book references
to artworks, texts, URLs, and items for
online search. Both the web site and the
book are an excellent resource for artists,
teachers and persons interested in the
field of new media.