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1997 JUL 17
Web Artist 1/2
JIM ANDREWS, CANADA
WHAT IS A WEB ARTIST?
What is a 'Web artist'? I don't want to be prescriptive on the matter.
Sometimes dragging in the A word just generates prescriptions about
what art should be. Surely, however, the newness of the form and the
consequent rush of unexplored possibility are part of the
excitement.
Also, of course, the multi-media dimensions of it are challenging
to the imagination, the hand, and the eye. And the associations
possible with hyperlinks challenge us to think imaginatively in
non-linear tree forms (the poet's tree is different, now).
Also, the graphical browser poses challenges and possibilities of
design that blend textual and graphical design as tightly as in any
magazine. And possibilities of the neath text, (HTML, Java,
JavaScript, VB script, ASP, etc.) challenge artists to comprehend
what is below the page, challenge them to reformulate notions
of the page and the canvas, the gallery, installation, magazine,
book, film, etc., or, if not 'reformulate', then 'steal' and
invent/discover beyond these notions and acclimatize
imaginatively to the new medium (or should that be 'multi'?) and
stretch into the dimensions beneath, above, and within the page.
Web artists are and will undoubtedly continue to be at the forefront
also in the restructuring of the traditional infrastructures involved
in the dissemination of books, art work, magazines, and other forms of
digitized and non-digital things. Who but the Web artists, for
instance, will really be able to do an outstanding digital publishing
house? Publishers now don't have it thought out, won't move on it
until the artists figure it out. The artists will make it be amazing
and important.
"Web artists are leaders along the long edges of imagination
as we drive toward 0, the new millennium."
ART IS ALWAYS ALREADY INTERACTIVE
Much has been said of the interactive nature of the Web. But art was
always interactive, whether in the directions of the eye viewing art
or the flipping back and forth amid text or, more significantly, in
the imaginative construction/reconstruction of the work by the
one experiencing it. The seductions of art, the leading into the work
and through it, beyond it, are basically the same as before. Seduction
doesn't really proceed along the lines of 'wanna click me new widget?'
unless it is somehow between the eyes or wherever, involved in feeling
and thought. What is new is the immediacy of email contact between
artists and those who view the site around the world. And the
possibility of associations and participation regardless of
geographical distance.
Interactivity that comes about as a result of Java programs, etc.,
beneath the page is merely interaction with an algorithm, which can be
interesting, enlightening, and engaging but, at least now it doesn't
seem as significant as interaction between people (tell Kasparov
that!). The neath text, however, does allow animation, live video,
etc., sets up a big train choo chooing us to one another or into
one another's visions.
THE DIMENSIONS OF THE PAGE
I think part of the excitement of imaginative work on the Web
relates to a sense that the paradigms available sweep generously
across the world, there is a sense that the art just became ever
so much more available and dynamically present around the world.
At its best, the art of the Web offers an experience of language
for the eye and the mind, the voice, the vision, on the edge of
a new tongue/palate/palette. Rich with association and
yet capable of entirely logical association. Textual but meaning
with all the dimensions of language (visual, sonic, etc.). Iconic
yet iconoclastic. It is unlikely that we will ever return to the
notion that technology is going to save us and give us untold
leisure. We extend our bodies, senses, memory, knowledge, nervous
systems with our deepening involvement in the machine. We wonder
if other parts are atrophying. But, on the whole, it seems an
exciting thing to bring in the millennium with what seems like
exciting, fresh art that demands an integrated sensual and
intellectual response, understanding, language.
CONTEMPORARY FUTURISM?
A kind of Futurism prevails. But Futurism, in the first half of the
century, was finally a rather ugly phenomenon despite its high energy
innovations. Mussolini was a Futurist. The brave new world of Futurism
was too nationalistic, too driven by notions of excellence and
rulership that were congruent with dictatorship or rule by a knowing
elite. The Futurists were also prone to high flown celebrations of
war, celebrations of the cataclysmic energies of a world dying and
being reborn.
Web art, given predilections for the edge, is accessible not as widely
as you would think. And to access the most interesting of sites, you
had better have your gizmos lined up with at least a couple of grand
invested in a Pentium. Also, Web art is usually quite involved with
business, or the artists are professionally employed doing commercial
work for the Web. Generally, artists get access to the newest software
through their employment doing more commercial work (I do).
So the whole scene is completely immersed in new world capitalism.
"Being a visionary," someone said recently in reference to
Microsoft CEO Bill Gates' plans, "does not involve turning out
ever more sophisticated software requiring ever deeper financial
commitment on the part of the users. Instead, being a visionary
involves provisions for world-wide access that does not
contribute to a situation where the rich get richer and the poor
get poorer". Do you agree or disagree? And is that where
things are headed? Only if it coincides with the rich getting
richer, it seems, which is certainly the rub of new world
capitalism -- unless the poor don't have to get poorer,
the distribution of power and wealth ever more unbalanced. On
the other hand, it fosters opportunities that can be seized
with only moderate initial investment in technology.
RESPONSIBILITY?
Where is the Web artist in this order and what, if any,
responsibilities go along with the art? Web artists are leaders
along the long edges of imagination as we drive toward 0, the new
millennium. There is a generosity of spirit currently infusing
communication on the Web. Hopefully Web art will go well beyond
flash and excellent design to perpetuating and deepening the
spirit of cooperation and imaginative involvement with each
other -- globally -- that sometimes feels like it
is on the way.
I don't mean to suggest that art should serve world peace. When
art is in the service of a social program or a political ideal,
it suffers from being pedagogy or what amounts to propaganda for
the cause. So what do I want? I want world peace and I want great
art! Good luck!
In part two of Web Artist,
A&T 07/24/97, Jim looks in on two Web sites
jammed pack full of interesting Web art: Razorfish from
New York and The Attic Window by artist Diane Fenster.
Would you like to see your work in Zn?
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