Techno-Anthropic ArtRosario Gomez
This section on Culture and Technology tries to help to elucidate, briefly, how artistic concepts evolve from the avant-garde ruptures and the subsequent immersion in the digital era, to our time in which the concepts of interdisciplinarity, interactivity, virtuality, artificial life, big dating ..., have been imposed on the various artistic trends.
I am interested in the art-technology relationship understood as the nodal intersection of knowledge between subjectivity (Dureé de Bergson) and functional time, an intersection that is strongly imposed in postmodernism, with the desire to expand the concept of art to its own territories of science and technology. It seems a fruitful intersection, insofar as it seeks to promote a humanistic and creative vision of the great inhuman advances of advanced capitalism. Perhaps, as Octavio Paz thought in The Double Flame, the great decadence of our world is due to having distanced us from anthropocentrism, the great pillar on which our ancestors supported since antiquity. It is necessary to clarify this idea to highlight that nowadays from anthropocentrism a much broader concept should be opened, that of ecocentrism that contemplates the global equilibrium of the planet and resituates us in the ancestral spirit of the mother land that some people still defend. especially tribal cultures, environmental movements and the new era.BRIEF SOCIAL EVOLUTION
It is interesting to understand that through the different movements of the History of Art, the artistic imaginary always evolves in function of the social conditions of each epoch and that it is often posed as a representation of the values of the dominant classes, whether religious or secular. , as a vehicle of social ostentation or mediation of messages for the people. Only in the modern period, with the advance of mass culture, the artist, with a growing development of individuality, is prismatizing reality in a highly subjective way and this fact helps to deepen the creation of identity for the man of capitalism, baffled by realities that exceed their vital dimensions. Since the beginnings of technical reproducibility we have witnessed the retreat of elite society and the advancement of mass society, this entails an interesting cultural phenomenon in which the relations between art and publicity are becoming increasingly symbiotic and conditioning factors. cultural models.
The Mass Media society has developed so intensely that the individual is blurred by the huge number of images and messages that circulate socially, conditioning the public mentality with the stylistic resources that favor electronic media and digital technology. In the network society, as Jamenson would say, we have changed the cultural and past pathology of the subject aligned by that of the fragmented subject, prey to the constant uneven reception of messages, in Omar Calabrese's terminology.
This fact does not go unnoticed by the artists who, in one way or another, position themselves in front of the problematic of representation, either through appropriationism in order to recompose discourses from existing ones or with an activist position of political awareness through of the same media (the media). Together with this taking of positions we also appreciate an exhaustive coexistence of multiple tendencies diluted within the framework of the cultural diversification of our time, this being, for the first time in history, the era in which artistic movements do not evolve by action and reaction but they coexist in a mystified harmony, facing the advance of a market capable of absorbing any tendency.
New genres are imposed as documentary, photojournalism, video art, net-art, interactive art, biometric art, art in big-data etc.