computers - networks - art works
1. Computers are the vanishing point of a history of rationalization,
domination, control, efficency and power.
2. This historical development has been persued mostly by military, economic
and ideological (religious, secular) centers.
3. These centers are also at the base of the development of communication
technologies (Marathon, carrier pigeons, telegraph, telephone to the computer
4. Computers and networks today make up the most powerful tools and infrastructures
for domination and colonization on the post-colonial globe. The divisions
between people and countries which have productive access to these technologies
and those which don't widen the gap between poor and rich, developed and
5. The power of computers and networks lies in the flexibility to adjust
to any new context and to incorporate and reempower previous technologies.
6. The word "info-capitalism" stands for a transformed multinational
capitalism based on information technologies. Computers and networks cause
the process of de-industrialization and exportation of production and
7. Computers and networks are producing a multimedia consumer culture
(fusion of computers, TV, phone, fax, etc.) which with its aggressiveness
and seductive persuasivness, the TV turns into a nostalgic domestic trifle.
8. Much of the production and distribution of academic knowledge too is
intrinsic to computer and network technologies. For data based research
and science, computers and networks are indispensible. All books are published
with the aid of these technologies.
9. Art has always had a direct and yet ambivalent relationship with power
and advanced technologies. It has been oscillating between affirmation
and critique. This is independent of whether or not technologies are incorporated
into art works.
10. Computer interfaces are among the variety of technologies which I
address in my work.
11. Interfaces are user surfaces that enable the interaction between user
and machine. They instrumentalize graphics and language in order to provide
an accessible work place for users. Interfacial environments reflect visual
and conceptual organisatorial ideologies drawn from modernism, architecture,
military and "popular imaginaries" to mention only a few.
12. In my work certain aspects of interfacial landscapes are minimalized,
abstracted, and exported from the computer into a new "host"
context ranging from architecture, wall paint to photographic supports.
These works also fulfill representative qualities since they can also
serve as framing devices for indexical materials found in academic books.
Indexes, footnotes, table of contents of books are technically speaking
interfaces to the texts they administer. Painted on a wall or photographically
reprocessed all these materials bring together several technologies: very
old and very new ones that are powerful and have potential for criticality.
13. Ironic complicity with these tools of power, manipulation and oppression
(the fact that one can also play with them doesn't contradict this) should
produce critical distance and analysis. In the field of art that is by
definition deprived of having considerable corporate influence, technological
fantasies can be distorted by absurd applications that are denounced through
Rainer Ganahl, New York, October 1995; Talk at Sandra Gering, New York