Goryunova, Alexei Shulgin.
Artist and the System: New Strategies.
adequate perception of “reality” (a compromised term, still a little better
than “actuality” – or let it be "what is happening"), while
maintaining a critical distance from it and an understanding of modernity’s
principles of functioning at least in certain chosen areas – all this requires
not only theoretical knowledge (such as the critical history of society, history
of media technologies, etc.) but also possession of various practical skills:
advanced programming, marketing, management and jurisprudence.
is somebody without advanced technological knowledge to notice and reflect upon
the danger of "user friendly" software? Nor is he/she able to trace
the actions of his/hers own computer or declare personal freedom and
independence with certainty[i].
the future belongs to computer experts, either to the hirelings of Microsoft or
to Linux fans. Those not burdened by this kind of knowledge will stay afloat on
further explore “a person without advanced knowledge of technology” –a
floating artist. The majority of media artists can’t write Java code or
understand anything about microchips, whether they are produced by optical,
supersonic or electronic beams lithography. They however try to seek the light
which is knowledge. If this artist is not as cautious as a fox in a chicken-coop
(forced by current circumstances) and doesn’t think that “if I’m not
interested in politics, it won’t get interested in me” – he can easily
turn into the ideal consumer.
know that the old image of active consumer – the central subject of social
life, whom the companies targeted in production as well as distribution and
advertisement of their goods, a young or youngish-looking businessman, energetic,
intelligent-looking – has retreated, especially in the field of information
tech requires such a powerful and
constant purchasing power as is possessed only by the eternal fire. When in 1945
during the creation of one of the claimants to the title of the first computer,
ENIAC, six such machines were estimated to be enough for USA, nowadays
laboratories create such powerful computers and implements as very few could
why an image of the new consumer has to be created, a new and attractive image.
businessman has something in common with a factory-owner, an agent of mass
production and distribution, the dominant features of industrial society. The
center of postindustrial society is knowledge and information. For its stability
and development such a society needs apart from the mass production and
consumption difference, individuality and creativity. Constant production of
ideas is the basis of regulation and development of the system.[ii].
previously the true member of society was the one-dimensional man[iii],
now he’s being transformed into a multi-dimensional man. Besides, the system
should stay highly flexible and mobile, constantly self-rearranging.
according to the society’s opinion possesses a highly developed creativity?
The artist. Who seeks to be on the very edge of the present, between the past
and the future? The artist. Who is mobile and creatively destructive? The artist
indeed. It is the artist who combining the qualities of an extreme sportsman, a
mad scientist and a quiet businessman is the ideal model for the image of the
as the system uses a fragment of Boticelli’s “Venus” in the screensaver
while loading Adobe Illustrator to render the values harmless by making them
insipid (changing the context so that while maintaining the form the content is
transformed `into a completely opposite one[iv]),
so using the artist as a new consumer image, a new central figure of society
structure, it empties his content, exchanging it for the one it needs in its
quest for stability and safety.
the radical and critical artists, aggressive towards rules and regulations find
their place in this system as the best engine of progress in information society:
through destruction to creation of the more stable. The stable mobility is a
motto for the artist, for the new consumer, for the management of new media.
the artist possesses a burden of knowledge enabling him to go deeper into the
contemporary structure, where various streams are regulated[v],
and the surface of which we view and experience, he assumes a different role –
one of the new media and high tech dealer.The best illustration of this
is the current star-the Netochka Nezvanova collective[vi].
the new relationship with the System into which the artist is embroiled offers
two undercover strategies, two images: the new consumerist and high tech dealer,
within the cultural industry’s tradition of creating false needs.
requires sobriety and knowledge.
J.F. Liotar. The Situation Of Postmodern..
M, St. P., 1998.
Title of G. Marcuse’s book,- 1967 г.
M. Adorno, T. Horkheimer. “The Dialectics of Enlightenment”. М.,
as media researcher and critic for new media. Articles on media culture and
a lecture course “Media: the expansion theory” – on the history of
media technologies and basic media theory read at the PRO ARTE Institute, St.
Petersburg; Almata Centre for Contemporary Art, Kazakhstan.
theoretician, musician, lecturer, curator and photographer. Participated in
hundreds of exhibitions and conferences, wrote numerous articles. The
world’s web-art pioneer. Inventor of Form Art (www.c3.hu/collection/form)
and FuckU-FuckMe (www.fu-fme.com),
the leader of the cyberpunk rock group 386 DX (www.easylife.org/386dx).