Dostęp otwarty
FROM CYBERBRICOLEURS THROUGH CYBERLEADERS TO CYBORGS: EMERGING ARTISTIC STRATEGIES AND POSSIBLE TACTICS OF RECEPTION
Anna MAJ1
Philosophying on Art And Aesthetics
Język publikacji: angielski
Artykuł w czasopiśmie
Transformacje Nr 3-4 (90-91) 2016, Data publikacji: 20 listopada 2016r.
Słowa kluczowe: Digital arts, cyberbricolage, cyberactivism, cyborgisation, artistic strategies, tactics of reception, MediaLabs
Streszczenie The main interest of the paper is to show how the roles of contemporary new media artists are evolving towards the spheres which do not necessarily belong to Art as traditionally understood. The Author analyses strategies which characterise the research and experimental factor (in its scientific meaning)as well as examines gaming experiences, curating local communities and hacking urban and cyber spaces. The author proposes her own typology of artistic approaches. The Cyberbricoleurs are the artists who develop new interfaces and play with pleasure with the new digital and analogue ‘materials’ of new media and their cultural context. They create space for social integration via new channels of communication, and actually work as cyberactivists or moderators and teachers of mediatised experience for the public. The Cyberleaders are those artists who behave more as traditional creators often locating their work in specialised galleries or new media festivals but at the same time they are gatekeepers, gurus and sometimes simply hacktivists. The Cyborgs are those artists who are not afraid to become the experiment themselves, who turn their life into the object of the art, sometimes in a playful way, at times like some kind of tutors or guides provoking reflection but now and then also putting their own health or life at risk The paper shows specific examples of these artistic approaches and describes the experience of the recipient and possible tactics of the public. The act of creation and perception is thus a kind of interaction or a game between two different identities with special competences, knowledge, sensibility and sensitivity and this relation creates tension. The interaction is always carefully designed but never totally programmable as the act of perception itself gives the recipient a vast sphere of freedom. On the other hand, the specificity of the artistic communication process gives new media artists new tools to manipulate the recipients and to ‘seduce’ them so they behave exactly the way the artists would prefer.
Institute of Cultural And Interdisciplinary Studies, University of Silesia in Katowice, Poland
E-mail: anna.maj@us.edu.pl