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The myth with/out/ technology
Marina Gržinić
What the fuck
is this? Those who have power and exert hegemony over the field
of art, knowledge and information are using the same or similar
vocabulary and methods, for goals completely different, than
those who are fighting them. All sorts of new empowered and
with technology impregnated consortiums are appearing in Europe
and in the World, trying to convince us that they are here because
they want so badly to improve our knowledge, construct bridges
of understanding and democratise information, art and culture.
This is the biggest cynicism when thinking about contemporary
attempts to re-evaluate information, technology, art and culture,
while building structures of resistance.
There is a difference that exists though, and it is rooted in
the structure of topics and issues, along with artists, writers,
cultural activists and producers involved in different battles
of re-articulation. Their contaminated speeches from the margins
attack the powerful organisations. The main point of investigation
in TECHNOMYTHOLOGIES is in which way technology and especially
new media technologies (from digital gadgets, to the Internet
and virtual reality technology, etc.) change artistic and cultural
paradigms. In which way artists are transformed by technology,
and technology reshaped by artists and activists. The difference
is also in the way the activists and artists try to break into
particles the myth of art-culture-technology’s happy liaisons.
What the fuck is this? The global world and global capitalism
are becoming even more united because of technology, and on
the other side processes of fragmentation and changes nevertheless
occur within history, memory and space, because of technology.
What are we forced to do, in order to re-question the happy
marriage between capital and new media technology?
TECHNOMYTHOLOGIES are divided into several areas of investigation
and try to raise controversial positions by artists, theoreticians,
performers, film and video makers, attacking the myth about
technology and the technology of the myth from a consistently
political point of view.
The contributions are different:
1. Theoretical texts and critical reflection.
2. Presentation of art works from videos and films, photography,
Internet or web projects.
3. Displaying political, cultural, forensic manifestos along
with links to interesting projects.
What are the goals?
To fight technology or to produce art? Biopower? Labour and
technology? Multitude or Networking? Technologies of survival
or economies of technology? The contributions are cheap, expensive,
economised and also ready to just withdraw themselves from such
topics. The politics of technology is at stake here.
Marina Gržinić,
Guest Editor
Philosopher, artist, curator from Ljubljana, Slovenia.
Professor at the Academy of Fine Arts, Vienna and Researcher
at the Institute of Philosophy ZRC-SAZU, Ljubljana
> see issue
02 for original invitation text
The editorial board of art-e-fact
is not closed in terms of either
generations or disciplines, nor does it stem from sectarian
or commercial interests. It has been conceived as a dynamic
body, which is continuously re-formed and changed, involving
various authorial personalities and experiences, while the
central theme is given shape by an invited guest editor.
editorial board
(alphabetical order): Nada Beroš, Marina Gržnić,
Susan Jakopec (English language editor), Silva Kalčić,
Trudy Lane, Antonia Majača (editor-in-chief), Dalibor Martinis
(AIM, for the publisher), Tihomir Milovac, Žarko Paić,
Ružica Šimunović, Leila Topić (executive
editor)
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