The social impact of Media Art

Abstract

Technological advancement has imposed a new deterministic vision in media studies. This vision is based on a linear idea of evolution: an interpretation of a Darwinian trajectory, revealed by the prominent use of the prefix “post”.

Significant media art theory often analyses the current media environment through the work of artists dealing with technology. The practice of artists however, throws into question the idea of a linear evolution of cinema and media. Without prejudicial interest in the difference between new and old media, artists will mix the images, sounds, and processes of differing media, consistently renewing concepts of evolution, giving rise to a new vitality in cinema and media development (Krauss, Brian Arthur, Gould).

This paper is an attempt to show how the impact of media art hasn’t been only important for contemporary art but also for social innovation giving a new idea of “technological evolution”. The first part of the proposal will be dedicated to the concept of ‘archaeology of media art’ (Grau, Cubitt, Huthamo, Parikka, Elsaesser), but it will not be a linear account: discussing switches in media art development from the 1960s, to the end of the 800s, to the 1920s. The second part of the essay will be dedicated to three cases studies. (Weibel, Kluszczynski, Carrol, Casetti, Arcagni, De Rosa, among others). Three case studies will be analysed. The first will be Thoma Wilfried’s Clavilux, (prototype 1919) – a term applied to a mechanical invention, which allowed the creation and performance of Lumia for both public exhibition and for private, personal viewing. The second will be dedicated to the Michael Neimark’s Aspen Movie Map (1975-1979). The third case study will be on Taoshi Iwa’s Tenori on.