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if painting has lost its momentum as a medium and computers are not to be accepted into the art world so where does that put us we get lost in the www. so to when we go to an art gallery the new needs time to develop because we don't have time to deal with it's aesthetic the computer art needs to be sophisticated, the work is reactionary against this aesthetic, this research has been devalued as a result there is no time to think about its philosophical development we must always be aware what technology are we talking about is it sound, video, performance art the machinery when it can be picked up from the scrap heap we then know the material well enough although this is done after the fact is it possible to push a new material into something that you know very little about to its limits. But this has been done before throw away items have already been done Is the stuff of computer art the hardware or its product? computer generated arts generating for other arts, its not meaningful because its as consumerist as any other, rave culture identifies with this meaningless (formalist)imagery does the attitude or the intent decide the nature of the art, context is important have culture bound up in the money moves towards meaningless for the sake of meaningless how do british artists have a sense of making big business out their work? they don't know much about there work but market it well things are contextualised for artists already in computer software complete seduction of technology is turin land creating meaningless wank without content technology attempting to give itself authority over the subject through the gratuitous use of technology what sought of interaction do we think we should have how can it be valued the same as painting what is missing there is a real clash of cultures between turin-land- and duchamp-land because the turin land, don't have the knowledge and skill to back it up are artists powerless in turin land do they paint the tv as a response all of the funding agency want new technologies, they wont take people without a track record artists are becoming more like architects they become facilitators of ideas if art is idea and context and materials is paramount then perhaps we are looking for something which catches us rather than in traditional sense can you stamp your personality upon an object if you are part of a machine perhaps the model of the artist is changing computer art is the wrong name, do we call something chisel art, or pencil art a non linear history with no vision most are conservative so history of Perth art is hotch potch what is the vision in relation to turin land do we take the technology the stuff for granted it is our inability to see the largeness of the picture do we concentrate to much on the limits rather than the potential the quality has not gone up with the large content the hesitation between the real and the simulated how do we explore this hesitation why can't the mistake be part of the work mistakes make this as part of the piece as in the poetry perhaps this is the potential will the turin theme park and duchamp park ever link Manovich thinks not duchamp land has been done where as turin land's possibilities are still uncovered language is usurped to empower the user (Picasso) as soon as it becomes big business does it become mindless because it caters for the lowest common denominator how does work get chosen through curators perhaps there is blurring of the boundaries between rock star and artist can you be only true to your self, which angle is the right one, what does this really mean, is it about authenticity, but are we continually in doubt , perhaps you have to find a different path what is self? what is truth? is thinking in linear mode naive? to be serious is boring ? what is entertaining? what is art is not definable so it can be used and abused by any fuckwit with money and power the curators decide what is art so this supersedes any artists intent the challenge is to make something that challenges our world can artists confront the basic foregrounding of technology
1. Lev Manovich, The Death of Computer Art, http://www.thenetnet.com/schmeb/schmeb12.html
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