Chat Transcript: June 28, 2000
Putting electric works into a physical space with artists exhibiting at
the Electronic Easel.
due to technical difficulties, this transcript is lost. But email
me with your ideas and I will be happy to put them up here...)
The University of Colorado, Boulder, is hosting an art gallery
full of electronic works, and the artists will convene in real time at the University
of Colorado, UMC June 21. We will bring the discussions started there into the
Our concerns include:
- Are our technologies
are evolving us into something that's no longer quite human--at least not
in the conventional way we have come to think of humanity? What are the implications
for the humanities in the age of the posthuman?
- Science and technology
are making rapid-fire "breakthroughs" almost daily in a range of technologies
from surveillance to genetics. As technology allows for the idea of "presence"
minus the physical (witness telecommunications, the Inet) what is the impact
on issues of identity, race, gender, etc?
- Has the demilitarization
of information technology been successfully re-mediated through public access/humanization
through the creative arts? How might we expect this re-mediation to be manifested
in other high technologies ( i.e. biotechnology) and future technology hybrids
(artificial lifeforms/artificial ecosystems/intelligent agents)?
- What is the current
status of aesthetics at the convergence of art, science and technology? What
is the impact on human/cultural identity, consciousness, community and learning?
The role of the artist on the web:
- Do new creation tools
(like Photoshop, for instance) bridge the gap between the artist (a person
with a special talent) and the audience (people with no special artistic ability)
by making everybody an artist, or do the tools reinforce the distinction by
making clear that talent isn't a function of tools?
- What is the role of
the artist-as-researcher in the investigation and innovation of new technologically-driven
visualization methods? What is the influence of aesthetics as a developmental
challenge to the technical envelope? and What is the next evolution of this
artist-researcher role in a post Xerox-PARC world?
- The motivation of nearly
all technology efforts is financial; this is in direct contrast to the motivation
of most artistic endeavors. How do these motivations shape the works?
- Interacting--how can
electronic art invite the viewer to take a more active role? What are the
possible roles for viewers
- Future works and collaboration--how
can we develop collaborative models of production?
- How do we preserve
the technology and the artwork we are creating when systems are obsolete every
6 months? Who will maintain the hardware/software/electricity needed to show