the place of high-technology art in the contemporary art scene

Leonardo

The Place of High-Technology Art in the Contemporary Art SceneAuthor(s): Frank PopperSource: Leonardo, Vol. 26, No. 1 (1993), pp. 65-69Published by: The MIT PressStable URL: http://www.jstor.org/stable/1575783 .

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THEORETICAL PERSPECTIVE

The Place of High-Technology Art

in the Contemporary Art Scene

Frank Popper

ANTECEDENTS OF HIGH-TECHNOLOGY ART The exhibition Kunst-Licht-Kunst (Artificial Light Art), which took place in Eindhoven, the Netherlands, in 1966 (and which I helped organize), apart from its purpose of showing technical exploits with artificial light by artists, attempted to incorporate aesthetic preoccupations connected with the idea of the environmental installation, an idea that was still young at the time. Although this exhibition was not designed to be a historical survey of Light Art, it established, with the aid of examples from history, that a new art was born that combined aesthetic and social preoccupations with an up-to-date technology.

Some artists who showed their high-technology works in Nagoya at The First International Biennale of Art and Technology (ARTEC '89) had also participated at the Kunst- Licht-Kunst exhibition in 1966. This is the case with Stephen Antonakos, Yaacov Agam andJean-Pierre Yvaral (in his capac- ity as a member of the Groupe de Recherche d'Art Visuel de Paris). Other artists showing in Nagoya, such as Liliane Lijn and Piotr Kowalski, participated in 1967 at the Lumiere et Mouvement exhibition at the Museum of Modern Art in Paris, for which only those who had resided in Paris had been invited and in which works were shown that were created entirely through the utilisation of real movement and artificial light. That these artists using new techniques participated more than 20 years ago in the first European Light-Art exhibitions establishes some proof of the continuity and coherence of high-technology art and provides an important link with present-day research.

If kinetic and luminokinetic art in general can be regarded as a significant starting-point in the context of high-technology art, the specific area of neon art is particularly illuminating as to the continuity of aesthetic preoccupations linked with technological advancement.

Although Georges Claude invented the actual vapour-tube device filled with neon gas in 1910, neon tubes were not widely used until the 1930s for decorative and advertising purposes. A few artists employed them in their works accessorially during that period. The first attempt to utilize neon light as the principal material of a sculpture can be ascribed to Gyula Kosice in Buenos Aires in 1946. His constructivist, dynamic Luminous Structures were conceived in the spirit of Lucio Fontana's Manifiesto Blanco of 1946; Fontana in turn created an elaborate, elegant neon ceiling, Concetto spaziale, for the Ninth Triennale in Milan in 1951. From that time to the present day, artists of very different tendencies employed neon light as the principal, or at least an important, technical means of expression. In this respect, one could mention Stephen Antonakos with his interi- or and exterior environmental pieces; Dan Flavin with his "cool" installations; Joseph Kosuth and Bruce Nauman with

their conceptual and critical approaches in works such as Kosuth's Five Words in Orange Neon (1965) or Nauman's My Name as Written at the Surface of the Moon (1968). One could also cite Martial Raysse's neon works that allude simultaneously to the artificiality of modern times and to the purity and innocence of a new way of life; Chryssa's coloured neon-tube works containing mysterious sym- bols and alphabetical elements in an attempt to bridge the gap between classical Greek civilisation and the present-day environment; as well as Piotr Kowalski's and Francois Morellet's use of neon to test the spectator's physical and architectural awareness.

Although neon was used for

ABSTRACT

In trying to determine the exact place of high-technology art in the contemporary scene, the author attempts to establish that there exists a certain coherence both on a technical and an aesthetic level between such different art forms as Light Art (luminokinetic and neon Light Art), laser and holographic art, video and computer art. Highlighting significant exhibitions and manifestations rather than individual research work by artists, the author assesses the role of technological art. Other contemporary art developments, such as modernism and postmodernism, and areas situated on the borderline of art are considered as valid expressions of our times.

various purposes, such as for filling the need for a luminous writing, for creating coloured dynamic light effects or for modelling inner and outer space and for modifying existing architecture, it can be maintained that, due to the specific technique or technology employed, all these works also con- tain a common, specific, aesthetic quality that covers a wide range stretching from an invitation to quiet contemplation and meditation to an awareness of the energy and vitality of modern existence.

LASER AND HOLOGRAPHIC ART Another development of Light Art concerns the use of the laser in art. Here again, although the theoretical basis for this technique had already been established in 1917 by Albert Einstein, the first practical laser was not created until 1960. Shortly afterwards its artistic applications made their appear- ance in three main areas: in combined visual and aural pro- ductions, in long-distance environmental plastic displays and in holography.

In the first sector, such artists and composers as Otto Piene, Carl Fredrik Reutersward, lannis Xenakis and Paul Earls staged multimedia spectacles; in the second, Rockne

Frank Popper (aesthetician, educator, exhibition organizer), 49, qtai des Grands Augustins, 75006 Paris, France.

Received 30 AuLgust 1989.

This paper was presented, in a slightly different form, as a talk at the First International Biennale, ARTEC '89, in Nagoya, Japan, 6tJuly 1989.

LEONARDO, Vol. 26, No. 1, pp. 65-69 1993

I

? 1993 ISAST



Krebs, Dani Karavan and Horst Bau- mann created nocturnal urban-laser displays. As for the laser/holographic sector, some of the most prominent artists present at ARTEC '89 in Nagoya were Margaret Benyon, Michael Wenyon and Susan Gamble, and Rudie Berkhout.

Can one speak of coherence and continuity in each one of these sectors as well as in the three sectors combined? This can be regarded as a sort of test case for the hypothesis I am devel- oping about the coherence and conti-

nuity of high-technology art, both on technical and aesthetic levels.

(I cannot allow myself to make a long digression on the vexing question of diversity and unity, but I may say without ambiguity that I believe there is no true unity without diversity.)

It is obvious that one of the aims of holographic artists, especially those who actually go through the process of making the holograms themselves, is to provide useful new ways of comprehending the world. If a prominent holographic artist and theoretician such as Benyon can utilize the holographic medium for conveying a multiplicity of aesthetic purposes-ranging from a reminder of the immateriality of the material world to an attempt at altering stereotyped thinking and creating an entirely new interpreta- tion of the human body-then her demarche bears the mark that, to my mind, is shared by all artists belonging to high-technology or technoscience art. These are artists who have a strong interest in up-to-date scientific methods and discoveries and their technological applications, as well as an interest in combining the aesthetic imagination with a will to create and communicate. Moreover, Benyon, as well as the other artists of high-technology art, partici- pates consciously in the building of the cultural sphere of a new society that has to face new issues without much help from the past.

I must add, however, that both tech- nically and aesthetically speaking, the future of holographic art lies no doubt in its combination with video and/or computer art. In fact, video art has at least as varied and rich of a history as have laser and holographic art.

VIDEO ART Two very different orientations could be observed from the outset in the work of video artists: on the one hand, the use of video cameras by plasticians as

recording tools and, on the other hand, experimental research carried out at the level of the characteristics peculiar to the electronic system. As examples of the former, one can mention the tapes of "actions" by Vito Acconci, Gilbert and George, Gina Pane and other rep- resentatives of "body art" who wish to enrich their documentation, which had until then been limited to texts and photographs. The realizations of Nauman, Peter Campus, Wolf Vostell, Joseph Beuys and Robert Rauschenberg proceed from an analogous procedure, though at very different levels. The flex- ibility of the video-recording system seems to give artists more liberty than do filmmaking systems.

The approach of engineers and artists who carry out research on the characteristics peculiar to video technology is quite different, since the electronic device is then considered by them in all its complexity and no longer as a simple recording tool. Video objects can be manipulated in a way similar to the manipulation of pictorial or sculptural objects. Nam June Paik has been able to make black- and-white abstract tapes by modifying, inside of the camera, the disposition of the electronic components. He has fol- lowed up his investigation at all levels.

Two other categories of video work have played an important part: one is a kind of research while making use of cameras, monitors and tape recorders to build up "environments" and "sculptures," and the other is "guerilla video," which consists of recording a wide variety of spectators in the street with a portable camera, generally with a politi- cal or, at least, an educational aim. All in all, before its merging with other high technologies, video was used in at least five different ways in the artistic field: the development of and the for- mal research of plastic elements; the recording of "conceptual actions," or artistic processes often concentrating on the artist; the guerilla video; the combination of cameras in environments and sculptures; and lastly, the use of the technological means itself with the objective of visual creation.

Artists in the ARTEC '89 exhibition, such as Marie-Jo Lafontaine, Catherine Ikam and Ed Emshwiller, made allowance in their installations for the fact that, at present, working with video not only consists of creating sequences of new images but also of devising original situations in order to view these images. In this context, Lafontaine uti-

lized her experience with multiple- screen programs, as well as her experimentation with time-lag and slow-motion effects; Ikam utilized her familiarity with mediated rituals (politics, sports), in which she made use of television broad- casts that were recorded and elaborated with video treatment and assembling. Emshwiller, a pioneer of video art, attempted in the exhibition to link video art to computer graphics, which, with the vast possibilities of the videodisc and of high-definition television (HDTV), is one of the most promising developments in the field of video technology.

Is there a point in common among the diverse aspects of video art-past, present and future? As with other art forms associated with modern technology, the diversity in the use of techniques and the diversity of each individual aesthetic endeavor do not preclude a com- monality concerning artists' basic attitudes toward science and technology-awareness of the intrusion of tech-

nology and its influence on our everyday life, our way of perceiving things and even our way of thinking- while not excluding the use of technol-

ogy in the field of art.

COMPUTER ART All this will become still more obvious when we come to examine art forms that enter the orbit of the computer and of cybernetic and information-processing theory. Computers can inter- vene in at least five different areas connected with art: in environmental artworks, in videodiscs, in cybernetic sculptures, in the production of video and digital images and in telecommuni- cation events.

Some of the laser artists I mentioned previously integrate microprocessors in their works, and artists such as Tsai and Kowalski (present at ARTEC '89) partic- ipate actively both in the area of environmental cybernetic works and in the cybernetic sculptural field. Here the machine calculates the manifold rela- tionships that establish themselves between the "user," the technoscience artwork and the space in which both of them are active, then it integrates its calculations into the functioning of the work. In fact, in this area we are touch- ing on four of the main areas concerning the use of the computer in art and indeed in the whole of high-technology art: the areas of artificial intelligence, simulation, dematerialisation and inter-

66 Popper, The Place of High-Technology Art in the Contemporary Art Scene



activity. Regarding the first two areas, artificial intelligence is a notion that refers to techniques that enable computers to simulate human behavior and test the deductive capacities of the human brain, apart from their function of storing knowledge in the memory.

In the most developed area of artistic computer applications, the realm of digital image-making, we are going in the direction of a procedural art, an art no longer concerned with objects. In digital image-making, the computer gives artists direct access to the processes and sources of creative activity at every stage by improving the initial divergent phases of exploration, by providing the means of accelerating the manipulation and articulation of ideas and by providing a framework for the synthesis of original imagery and con- cepts.

It must be stressed that what has been restrictively called computer graphics is by no means limited to graphic works, although, at the begin- ning, artists produced mainly two- or three-dimensional designs based on nonvisual data as well as variations on existing image models through the technique of "picture processing."

In fact, enormous progress has been accomplished in the use of computers for the production of artistic images, through the computer's having become a meeting-point, even a melting-pot, for a number of the most advanced techniques. It is a truly interactive instru- ment that permits the creative development of plastic elements as well as highly original perceptions of space and time.

It is the difficult notion of interactivity that currently presents a challenge, both in the areas of digital image-making and in telematic art. Three recent works illustrate possibilities for the development of interactivity, proving that work in this field is not only visual but essentially conceptual, and that the process of production utilized appeals to the creative capacities of the concep- tualist to stage what could be compared to a theatrical display.

The works concerned are The Feather (1988) by a group of French artists including Edmond Couchot, Marie- Helene Tramus and Michel Bret; Artist/Critic (1988), a work constituted by a dialogue between two computers by British artist Brian Reffin Smith; and an interplay between a computer and a mobile screen entitled Plasm: A Nano Sample (1988) by an American group

called Nano Sample, whose members included Peter Broadwell, Rob Myers and Eva Manolis.

These three works exist only through the presence and intervention of the spectator. In the first case, The Feather, the breath of the spectator directed onto the image of the feather causes it to "fly" and to describe some unpre- dictable trajectories; in the second case, only the intervention of the public makes possible the dialogue between the two computers representing an artist and an art critic; in the third case, only the physical and directional movements of the spectators allow them to discover a virtual space superimposed on a real space, which is the statement's aesthetic aim.

TELECOMMUNICATIONS ART

Interactivity is also the essence of all telematic systems. I recall that the term "telematic" was coined in 1978 by Simon Nora to describe the new electronic technology derived from the convergence of computers and tele- communication systems. Artist and theoretician Roy Ascott has adopted a telematic or, more specifically, a video- text system that has the ability to inter- act in electronic space, via computer memory and beyond the normal con- straints of time and space that apply in face-to-face communication.

For Ascott, the art of our time is one of system, process, behavior and interaction. As artists deal in uncertainty and ambiguity, discontinuity, flux and flow, as our values are relativistic, our culture pluralistic, and our images and forms ephemeral, it is the processes of interaction between human beings that create meaning and, consequently, cultures. Those systems and processes that facilitate and amplify interaction are the ones that will be employed by artists in order to open up a world community, with the aid of a telematic system based on computer-mediated cable and satellite links.

Thus, Ascott, who has already to his credit some outstanding telematic networks and has used the computer imag- inatively as a matrix of creative work, sees in the future a much more com- prehensive professional collaboration, producing telematic networks and nodes of digital hardware and cybernetic systems. These systems will support new forms of art practice, including environmental design, new means of public access and an implication of a wider range of participants.

THE INTERPLAY OF TECHNICAL AND AESTHETIC FACTORS

Up to now, I have tried to prove that the different kinds of art forms con- verging into high-technology art have an important factor in common that shows there is a certain coherence between them, both on technical and aesthetic levels, as well as a certain continuity in their evolution from more elementary technical forms of Light Art to more developed forms such as telematic art, optical neural computer art, programmed digital holographic data- storing and representation-system art, ecotechnological art and satellite art.

On the aesthetic level, it is certainly more difficult to maintain that there has been progress from constructivist, dadaist and surrealist art forms to art forms that more directly exploit scientific and technological phenomena. However, even on an aesthetic level, one can discern a coherence, a common attitude of most of the practitioners of high-technology art toward the relationship between art, science and technology. Such an attitude allows these practitioners a characteristic and specific exploitation of a great variety of aesthetic categories based on their "technoscience" investigations. This attitude and this exploitation concern, first of all, an attempt to deal not only with visual matters but also with psychological and mental matters, whether of a mathematical or a linguistic nature. In this context, it becomes, for example, less important to distinguish between figurative and abstract forms, classical and baroque, or realistic and fantastic styles.

Secondly, these practitioners, at least as far as present-day high-technology artists are concerned, show a predilection for alluding aesthetically to the relationship between basic human expe- riences-physical, psychological and mental-and the radical and global intrusion of the new technologies into all walks of life, with their beneficial effects, serious dangers and immense possibilities. This interest, be it optimis- tically or pessimistically, enthusiastically or critically, earnestly or humorously expressed, is to my mind, a common de- nominator that justifies that these artists travel under the same flag. But this observation also allows the deduction that high-technology art can be regarded as an important art trend at the present time.

Popper, The Place of High-Technology Art in the Contemporary Art Scene 67



That high-technology art and artists belong to a distinct group could be dis- cerned in the Electra exhibition, which I conceived and helped organize at the Museum of Modern Art in Paris in 1983. This exhibition focused mainly on the ways in which the artistic imagination had coped with the introduction of electricity and electronics into the pattern of life in the twentieth century. Additionally, the exhibition attempted to go beyond this theme by trying to demonstrate that a scientifically based technology can help liberate an artist's creative powers, as well as the public's faculties of appreciation and interactive involvement.

On the other hand, the Immaterials exhibition, organized by Jean-Francois Lyotard and Thierry Chaput at the Georges Pompidou Centre in Paris in 1985, tried to explain the complex relationship that exists between human beings and many scientific phenomena, in part as a function of the difficulties presently encountered in the distribu- tion of information. A postmodernist bias dominated the exhibition, as did a method of display in which no categori- cal distinctions were made between artistic and scientific images. Thus, two types of ambiguity were present: first, postmodernism was shown as a continuation of modernism and, at the same time, as a break with the ideas of Descartes and the philosophers of the enlightenment with regard to progress, scientific truth and experimentation; second, a melding of scientific inven- tion and artistic creation was deliberate- ly practiced.

The 1986 Biennale of Venice was entitled Art and Science-its main purpose was again to try to bring together modern art and science after the divi- sion that had taken place between the humanistic and scientific cultures. Such sections as technology and information- processing, chromatic order systems and avant-garde colour were included but did not dominate the exhibition. This was an indication of the token importance accorded to high-technology art in the Italian context, dominated at that moment by the promotion of the "trans-avant-garde" in painting, mainly through the activities of the Italian art critic Achille Bonito Oliva and his proteges Enzo Cucchi, Sandro Chia and Mimmo Paladino.

A recent art exhibition in Paris, during the annual Conference on Com- puter Graphics in 1988 organized by Jean-Louis Boissier, made an interesting

distinction between two directions fol- lowed by artists using digital images as their principal way of expression. On the one hand, there were those who mix digital and traditional techniques such as painting, sculpture, the graphic arts, photography, film and video, and for whom computerizing intervenes only at certain stages of the creative process, leaving as a final result materials such as ink on paper and image imprints on cel- luloid or on the cathode screen. On the other hand, there are those artists who use an open process, with constant intervention of the computer in the form of a digital matrix permitting simulation and interactive manipulation, a dialogue with the machine and widespread trans- mission through networks.

As I see it, these exhibitions, as well as the work of artists such as Todd Siler (Cerebrarium Sculptures) and Shawn Brixey (Aqua Echos), clearly show that a distinction is to be made between artistic, scientific or purely engineering endeavors and that, if the intervention of the artistic imagination can be effec- tively combined with scientific inven- tion and industrial applications, the result remains of a very different and specific nature.

MODERNISM,

POSTMODERNISM, HIGH-TECHNOLOGY ART

As for the question of modernism and postmodernism raised by the European exhibitions, I recall that, according to Charles Jencks, J.A. Walker, Ihab Has- san and others, postmodernism differs from modernism in advocating eclecti- cism, hybrid and pluralistic styles. History and tradition become available again, just as ornament and decoration are again accepted. Complexity, contra- diction and ambiguity replace simplicity, purity and rationality. The mixture of high and low culture and of fine art and commercial styles is encouraged. Multilayered readings are permitted, and an appeal to audiences at different levels of knowledge and sophistication is made. Postmodernists are concerned with meaning-that is, they treat art, architecture and design as languages that can be used to construct all kinds of different statements.

Modernism is, according to the same theoreticians, described as a rejection of stylistic anarchism, a break with the past and with history and tradition, putting the accent on novelty and originality. With it, decoration and orna-

ment are rejected because they are residues of primitivism. Modernism rep- resents simplicity, clarity, uniformity, purity, order and rationality. It rejects national, regional and vernacular styles in favor of an international style. It wishes to create a new world in which improved human behavior would be possible.

Jencks also introduced the notion of "late modernism"-that is, a purely stylistic option in favour of experimen- talism in the arts, with the aid of what he calls "ultratechnology." Yet Jencks assumes fully the paradoxical dualism (the double coding) that the hybrid name of postmodernism entails: the continuation of modernism and its transcendence.

Can high-technology art as we see it today be assimilated in postmodernism, late modernism or simply modernism? At first sight, high-technology art partici- pates to some extent in some characteristics of all three of these art movements. For example, high-technology art does not reject a priori the postmodernist cri- teria of a plurality of style, multilayered readings and a preoccupation with "lan- guage," preferably mathematical. On the other hand, it does not really reject the modernist refusal of anarchism, and it is definitely in harmony with modernism in favouring novelty and originality. As for late modernism, if this is at all a valid concept, high-technology art does not try to hide its predilection for an intense experimentation with and testing of technological processes in view of obtaining new aesthetic results.

In fact high-technology art goes clearly beyond this debate by trying to equal- ize technological and aesthetic factors and by putting the accent on such global problems as the environment and interactivity between the artist and the machine, and the inclusion of the public in the creative process.

In conclusion, let me point out that I have been mostly concerned with trying to show, on both technical and aesthetic levels, the contours of a coherent, continuous art form that holds an important place in the contemporary art scene and in the discussions around it. I also hope to have raised a number of problems and asked some questions to which others in the future, with their latest thoughts and achievements, will provide some answers. In any case, I am certain that the discussion that set modernism and postmodernism in opposi- tion will be superseded by the belief (which is also my own) that high-tech-

68 Popper, The Place of High-Technology Art in the Contemporary Art Scene



nology art not only deals with technical

problems but also must be seen as an

important factor in our relationship with both urban and natural environ-

ments, and that it is, above all, concerned with the dynamic and creative

interrelationship between humans and their artefacts.

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Popper, The Place of High-Technology Art in the Contemporary Art Scene 69



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