Compedium of Flexible Technologies
Abstract
The fact that modern artists are turning toward science and the latest technologies—robotics, information technology, biomedicine—forces us to reformulate our concept of art. One need only imagine a «semi-living» cybernetic organism resulting from project activity that has nothing to do with life, except that it arises from «the very methods of life»—and we understand that the existing system of art (storage, representation, etc.) is entirely unequipped for these kinds of works. All these non-human subjects interacting with one another give rise to a complex systemic whole, new spaces for the existence of art, where man is no longer assigned the most important role. Are there any working concepts and formats of art that illustrate relevant ways of living between human and non-human? When artist creates something and then hands the function of a mediator over to a hybrid, semiautonomous and developing-in-time system? Or when he / she introduces a co-author into their artwork, i.e. AI, bacteria, magnetic fields, gravitation, etc.—all that was named "non-human" agents? Considering these issues is hardly possible without taking into account the experience of art&science, an artistic trend, whose representatives develop interpretation of art as a continuous dynamic game; the art based on understanding of complexity of the world and depicting this idea in every possible way. Such an approach makes a reality where autonomy, freedom of choice and creativity are not attributed to human only. The article discusses examples of "adaptive" design at the intersection of art and science, based on an open search for opportunities that cannot be fully predicted in advance. All these projects call into question the human-centered optics with its desire to portray matter as a passive and silent force. Unlike the existing artistic tradition, which has a deep distrust towards matter, each of these examples offers its own description of the material world at the level of dynamic relationships.
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