http___metamedia.hr_mm19-media-mediterranea-19-digitalna-romantika__1.xml
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Udruga za razvoj audio-vizualne umjetnosti New media interactive installations, lectures, multimedia kids corner, workshops, new electronic romanticism, picnick soundtrack. Location: Pula, Titov park Digital romance is a longing for the past, the irretrievable, a way of treating a new paradigm of media through the prism of old ones, new systems through old systems, the inability to distance oneself from old ideas. Are memes resisting the digital revolution by creating endless permutations of the appropriated content? By transforming historical styles to the level of absurdity they become deprived of any meaning, they become only the shells of the previous ideology – a lone ideology to which any other can “attach” itself. Memes as a strategy of cultural resistance, punk postmodernism, time without great narratives, nihilism of 4chan, the birth of Anon, Alt-right as a rebellion against Left Conservatism – all these are “meta-rebels” lost in constant mutations. New right-wingers, libertarians, transhumanists, anarcho-capitalists, mimetic social orders, our reality begins to look like Southland Tales, 99% of information is irrelevant – bait and smoke screen – a binary diversion. In the binary system, everything is constructed of two values, 1 or 0, YES or NO. Digital (binary) is in principle contrary to the romantic (emotional, impulsive …), although in the age of Tinder, YES or NO are the only option, and that’s a lot of YESES and a lot of NOS. Tinder is a practical example of implementing statistics in love relationships through the law of large numbers. Connecting two polarities into one results in neurosis, a struggle between “rationality” and “emotionality”, between mind and impulse, between natural laws and the subjectivity of consciousness. With the emergence of distributed networks, rapid infrastructure and a large number of users, millennia of cultural appropriation and gradual mutations accelerated exponentially, from one hundred years to a few hours. Meta narratives of pop culture, mixed with historical narrative, result in a rapidly developing pathogen, which spreads through digital networks faster than the Spanish flu. A good example of neurotic subjectivity in history is Romanticism, and then ideas that developed under the influence of Romanticism in the later centuries. Romanticism is the European artistic and intellectual movement of the late 18th century, which focused on emotions, individualism, nature, history, and appropriated elements of different historical periods as a resistance to the Industrial revolution. It is closely related to nationalism and is considered an introduction to the fascist ideology of the first half of the 20th century. After all, the artistic style of Nazi Germany was a combination of Greek and Roman art and architecture with elements of romanticism and heroism. The replication of certain periods for the purpose of false impression is the definition of kitsch due to the simulation of material or style of other periods and lack of authenticity. From the visual landscape of the margins of the internet, on forums (reddit), blogs, imageboards (4chan) and social networks, we can see how in the rapids of the digital stream ideologies are defined, communities, hybrids of social systems and synchronicity are created and social changes are triggered. In these nooks the monarchy connects with Silicon Valley (new feudalism), anarchism with capitalism (anarcho-capitalism)… what is at one time marginal becomes dominant tomorrow (Alt-right – The Dark Enlightenment). In the last few years, the term “post-Internet art” is often referred to. It includes a wide range of practices and works pushed under the same denominator. In its base, post-Internet art deals with the transition of the digital into the domain of the real, uses quotes of visual byproducts of digital processes and transposes them into material form, material reality. Unfortunately, they are mostly referred to the visual, and rarely go beyond the level of form, lost on the periphery of the system, instead of dealing with the system itself. Let’s examine the pathogens, not their shells – systems, not forms – expose the structures that create visual parasites. Give us your trash, your visual spit! Let’s rip the pixels, accelerate the mutation, let the visual reach its final denominator! Author: Hrvoje Hiršl
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Udruga za razvoj audio-vizualne umjetnosti Novomedijske interaktivne instalacije, predavanja, multimedijalni kutak za djecu, radionice, glazbeni program te piknik soundtrack. Lokacija: Titov park, Pula Digitalna romantika čežnja je za prošlim, nepovratnim, način tretiranja nove paradigme medija kroz prizmu starih, novih sustava kroz stare sustave, nemogućnost distanciranja od starih ideja. Jesu li možda memes otpor prema digitalnoj revoluciji stvaranjem beskrajnih permutacija apropriranog sadržaja? Prerađivanjem povijesnih stilova do razine apsurda oni postaju lišeni bilo kojeg značenja, postaju samo ljuske prijašnje ideologije, dakle, ideologija sama za sebe, na koju se može “prikačiti” svaka druga. Memes kao strategija kulturološkog otpora, punk postmoderne, vrijeme bez velikih narativa, nihilizam 4chana, rađanje Anona, Alt-right kao buntovništvo protiv lijevog konzervatizma – sve su to “meta-rebeli” pogubljeni u konstantnim mutacijama. Novi desničari, libertarijanci, transhumanisti, anarhokapitalisti, mimetički društveni poretci, naša realnost počinje ličiti na Southland Tales, 99% informacija su nebitne te su mamci i dimne bombe, binarna diverzija. U binarnom sustavu sve je konstruirano od dvije vrijednosti, 1 ili 0, DA ili NE. Digitalno (binarno) je u svom načelu suprotno od romantičnog (emocionalnog, impulzivnog…), iako u doba Tindera, DA ili NE su jedina opcija i to puno DA i puno NE. Tinder je praktični primjer implementiranje statistike u ljubavne odnose pomoću zakona velikih brojeva. Povezivanje dvije polarnosti u jedno rezultira neurozom, borbom između “racionalnosti” i “emocionalnosti”, umnog i impulzivnog, između prirodnih zakona i subjektivnosti svijesti. Pojavom distribuiranih mreža, brzom infrastrukturom te velikim brojem korisnika, tisućljeća kulturne aproprijacije te postepene mutacije eksponencijalno su se ubrzale, sa stotinu godina do par sati. Meta narativi pop kulture, pomiješani s povijesnim narativom, rezultiraju brzo razvijajućim patogenom, koji se širi digitalnim mrežama brže od španjolske gripe. Dobar primjer neurotične subjektivnosti u povijesti je Romantizam, te potom ideje koje su se razvile pod utjecajem Romantizma u kasnijim stoljećima. Romantizam je Europski umjetnički i intelektualni pokret s kraja 18. st. koji se usmjeravao prema emocijama, individualizmu, prirodi, povijesti te aproprirao elemente različitih povijesnih razdoblja kao otpor industrijskoj revoluciji. Blisko je povezan s nacionalizmom te se smatra uvodom u fašističke ideologije prve polovice 20. st. Uostalom, umjetnički stil nacističke Njemačke je bio spoj grčke i rimske umjetnosti te arhitekture s elementima romantizma te heroizma. Repliciranje određenih razdoblja u svrhu lažnog dojma je definicija kiča, zbog simuliranja materijala ili stila drugog razdoblja te manjka autentičnosti (lokalnosti, povijesnog razdoblja). Iz vizualnog pejzaža margina interneta, na forumima (reddit), blogovima, imagebordovima (4chan) i socijalnim mrežama možemo iščitati kako se u brzacima digitalnog toka definiraju ideologije, stvaraju zajednice, nastaju hibridi društvenih sustava, pojavljuje sinkronicitet i pokreću društvene promjene. Na tim zakutcima spaja se monarhija sa silicijskom dolinom (novi feudalizam), anarhizam s kapitalizmom (anarhokapitalizam)… ono što je u jednom trenutku marginalno, već sutra je dominantno (Alt-right – The Dark Enlightenment). U zadnjih nekoliko godina često se spominje pojam “post-Internet art”, koji uključuje široki spektar praksi i radova koji se guraju pod isti nazivnik. U osnovici post-Internet art se bavi prelaskom digitalnog u domenu realnog, koristi citate vizualnih nusproizvoda digitalnih procesa te ih prenosi u materijalni oblik, materijalnu realnost. Na žalost, većinom se referiraju isključivo na vizualno, te rijetko nadilaze razinu forme, pogubljeni na periferiji sustava, umjesto da se bave samim sustavom. Idemo propitati patogene, a ne njihove ljuske, sustave, a ne forme, razotkriti strukture koje stvaraju vizualne parazite. Dajte nam svoje smeće, svoje vizualne ispljuvke! Parajmo piksele, ubrzajmo mutaciju, neka vizualno dođe do svog krajnjeg nazivnika! Autor teksta: Hrvoje Hiršl