Post-Guten(morgen)berg: Soundings for a North/South Atlas of Art
and New Media Histories.
A look at some of the ideas, concepts and theoretical models Rudolf Arnheim
took up over the years to probe ongoing and emerging domains of visual
experience, processes and technologies. Can his conceptual kit —
made up of heterogeneous, at-hand terms such as vector systems, retinal
presence, creative cognition, entropy, dissipative force — serve
as a start up for a historical mapping of art/new media interactions?
Some of his elemental image-ideas are unpacked: ‘Laocoon’
– the ‘convergence and mutation of genres’, closed art
systems and open-ended hybrid practices; ‘Mittelmeer’ —
‘migrating’ centres and peripheries; ‘thermodynamic
happenings’ — art possibilities, beyond the object, as episode,
flow, temporality in relation to how new media developments have come
to shape conditions of art production. His unswerving ‘epistemological
focus’ is an inspiration behind charting the contemporary communicative
sphere. With global migration —‘the migrant, alien, other
in our midst’ — this space becomes one of ceaseless translation,
transmutation, and transmission as an everyday experience. The artistic/ethical
issues this spawns are scanned as ‘xeno-epistemics’ —
ways of knowing the alien ‘other’ and ‘other’
ways of knowing.