art after the networks communication media

by Dimos Dimiriou

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 20^th 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

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

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

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

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

 

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

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

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

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 20^th 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"

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

doing art is commenting on art's context of validity

Dimos Dimitriou

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