<nettime> art after the networks communication media

["Dimos Dimitriou" <addfield@ath.forthnet.gr>]

  art after the networks communication media
  by Dimos Dimiriou




1.
art after the net interactions is no more what it was before the use of the
net

none of the artistic structures - from the net-based art to all the historic
art forms - remain the same after the appropriation of the net structure as
a new artistic principle

after the use of the nets, instead of remaining within to the 20th century
art program of investigation and planning of industrial and urban design,
art now investigates, plans or destabilizes the soft technology of the mega-
or micro-power, i.e., organizations, councils and corporations

art does not refer neither to stable-predetermined structure of values, nor
to self-based contemplation [=the artistic derivative of stable values], nor
comments on art. art comments on the [open-source] contexts of values.

the art [in its artistic net-extension] represents "the intermediation on
the mediums' uses"

doing art is commenting on art's context of validity



2. new poetic

a poetic principle is the initial and substantive impulse for a
manifestation

(a poetic principle is not an artistic principle)

poetic acts represent the need to exchange the objects for open-source
interrelated signs

poetic events can no more be confronted as illogical events

poetic events are founded to interpersonal relations and aim at new
interactive perceptions

a person (artist and/or viewer) is one of the carriers of a new vision

there is no art, even dead art, without living interrelated persons

there is no pure art idea without the dirtiness of living persons

expressing new perceptions via the personal plexus of actions and reactions,
is one of the new carriers of art

expressing new perceptions with the aim of having them reproduced by the
personal plexus is one of the new carriers of art



3. the presence of the persons is a new poetic principle

    poetics are founded on the interrelations of personal expressions and
aim at a new vision [not at a subject/object perception]

persons are present through linguistic actions (in real or remote mode)

[the presence of] the expression of persons, perceived as embodied
structures and personal intentions, are a new poetic principle

any presence of the human use of media commends a poetic principle

linguistic actions manifest a telos : accordance or discordance between
persons

    the telos of the use of a present-day language is the accordance or
discordance between persons

or, the telos of the communication in a present-day language is the
accordance or discordance between persons





4. expressed personal relations are new artistic principles

an accidental relation in art, its perceived form is defined by the context
of this relation

every fortuitous historic event has a telos, which is represented by the
form of the context of this event

interpersonal elements such as a city, or a network, an agreement or an open
source software, the NATO coalition or a satellite view, can be viewed as
new artistic principles

taking part in or building up an agreement, is not an artistic action
because working within it means to accept the structure of the agreement
without investigating its form. for example, taking part in an artistic
structure such as a museum or an artistic event is not an artistic action
per se

personal relations are artistic principles when they are presented using the
investigation of the values of their artistic form

art comments on the whole range of actions that are taking place, and these
actions define the art context



the net of relations is a new artistic principle

5. art can now achieve the presentation of interpersonal relations

art after the net is founded on the contextual expressed interactions of at
least 2 people: the interaction of the artist and the viewer

the difference with all the art of the past is that the art of the past
seemed to be founded on the subjective self-expression only

    with the explosion and the appropriation of the media by everybody, the
limitation by the artists' "self-expression-only" condition is obsolete



neither the artist nor the viewer have the limited roles of the past any
more

art is now opening under the new conditions of the net, which are no more
the self & mono-optical conditions of all the representative media
before-the-net

    art represents the place where all the components of an art-action are
taking place

    art-actions define a site for the representation and the critique of the
communication media

    in art-actions, the interpersonal use of media are take the form of
their representation and their modalities of critique



6. the use of the media is the artistic intermediation of the representation
of the media

the artist as well the spectator are represented under the modalities of
their interactive communication



7. in art, the mediations of "person to person" interactions are now
represented

where: the "person to person" interaction is the poetic principle, and the
use of the media represents the artistic principle

net art has little to do with what the art presents in our contemporary
conditions after the use of the net

after the nets, all the past-art events can be confronted as the interactive
relation between at least 2 people [artist / viewer ]

artist and viewer embody the new roles of their net exchanges

interaction is not simply expressed by a form button, but by the instability
of the "open-source" dialogue

the forms that art presents manifest a whole range of open interactive
actions



any action of everyone towards everyone = the new poetic principle

8. any action that connects 2 persons is manifested as a structure =
artistic principle

any action, under art conditions, is perceived as a structure



9. art [in its artistic net extension] represents "the intermediation of the
media's uses"

interactions in real or remote net ramifications commend new artistic
principles

accordance or discordance between persons commend new artistic principles

under net-interaction conditions, the roles of the artist and of the viewer
are both live materials of the works. (this art condition, known for the
past 40 years, has now become part of the mediated form)

the artistic elements that throughout modern history have been perceived as
just fortuitous elements, after the net have nothing to do with art

unlike the artistic elements, the fortuitous interpersonal relations as
expressed by the use of the media commend structures of art

the context of accidental historic interpersonal relations commend artistic
structures [under the investigation of the values of their form]

instead of the mono-optical and the ego-limited view of the before-the-net
visions of the past [characterized by expressions with no external
references], art now is structured by its live referential contexts

after the appropriation of the media, art actions represent the
communication modalities

the new art fathoms the telos of communication relations

interpersonal relations cannot be pre-configured because pre-configuration
impoverishes relations

under art conditions the fortuity of interactions commends structures



10. in art terms, any accidental relation's telos is expressed by the form
of the context of this relation

  there is no context form that does not contain relations with expressed
telos

  there is no relation without expressed telos as its context

building or working within a structure, in art terms, means investigating
this structure as the representation of its open source interactions

after the entrance of the true interactions in the work's desktop, any
structure is no more the field of logocentric or systemic-only practices.
artistic as well a public or a commercial organizations are now fields of
art critique practices

logocentric perception always distorts the communication structure in a
text-based control system, because by default there is no logos [narration
or software] that can contain the dynamic of the poetic principle of
interpersonal relations

the poetic principle of interactions enlightens its countercurrent's blurred
structures: the distortions produced by the ineffectiveness of the systemic
narration-container

art investigates its own validity by looking at what the system proscribes:
what cannot be contained and controlled by default and leaves the system
with an unsatisfied desire to configure and control

instead of remaining within to the 20th century art program of investigation
and planning of industrial and urban design, art now investigates, plans or
destabilizes the soft technology of the mega- or micro-power, i.e.,
organizations, councils and corporations

art [in its artistic net extension] represents "the intermediation of the
media's uses"

11. art comments on the [open-source] contexts of values

12. doing art is commenting on art's context of validity





Dimos Dimitriou , for the CFront-2000 workshop
4/01





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