Art Works as Organic Communication Systems- Anna Couey
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Finding some time to go back through the pile of unread emails - found a reference to Anna Couey, posted to Rhizome Rare on 5 Nov 2003. A Google search turned this up.
Art Works as Organic Communication Systems
Anna Couey
The creative use of networks makes them organisms. The work is never in a state of completion, how could it be so? Telematique is a decentralising medium; its metaphor is that of a web or net in which there is no centre, or hierarchy, no top nor bottom. It breaks the boundaries not only of the insular individual but of institutions, territories and time zones. To engage in telematic communication is to be once everywhere and nowhere. In this it is subversive. It subverts the idea of authorship bound up within the solitary individual. It subverts the idea of individual ownership of the works of imagination. It replaces the bricks and mortar of institutions of culture and learning with an invisible college and a floating museum the reach of which is always expanding to include new possibilities of mind and new intimations of reality.
-Roy Ascott
The communities engendered via computer networks are organisms. Like physical communities they evolve and are influenced and defined through user participation. Like physical organisms, the extent of their impact on the ecosystem depends on their interaction with other organisms. Creative use of computer networks implies, from a user standpoint, experimentation with forms of communication and user interaction. From a systems standpoint, creative networking involves investigations into levels of user interaction in virtual space, community building and cross-pollination, or the creation of links between previously disparate communities. As organic communications systems, telematic art can initiate previously unknown behaviors and, over time, create operative new realities. Its meaning lies not in what it is (identity or objectification), but in what it effects. (continued)
Published in Connectivity: Art and Interactive Telecommunications, a special issue of Leonardo (Vol. 24, No. 2) edited by Roy Ascott and Carl Eugene Loeffler, 1991.
© 1991 ISAST
Art Works as Organic Communication Systems
Anna Couey
The creative use of networks makes them organisms. The work is never in a state of completion, how could it be so? Telematique is a decentralising medium; its metaphor is that of a web or net in which there is no centre, or hierarchy, no top nor bottom. It breaks the boundaries not only of the insular individual but of institutions, territories and time zones. To engage in telematic communication is to be once everywhere and nowhere. In this it is subversive. It subverts the idea of authorship bound up within the solitary individual. It subverts the idea of individual ownership of the works of imagination. It replaces the bricks and mortar of institutions of culture and learning with an invisible college and a floating museum the reach of which is always expanding to include new possibilities of mind and new intimations of reality.
-Roy Ascott
The communities engendered via computer networks are organisms. Like physical communities they evolve and are influenced and defined through user participation. Like physical organisms, the extent of their impact on the ecosystem depends on their interaction with other organisms. Creative use of computer networks implies, from a user standpoint, experimentation with forms of communication and user interaction. From a systems standpoint, creative networking involves investigations into levels of user interaction in virtual space, community building and cross-pollination, or the creation of links between previously disparate communities. As organic communications systems, telematic art can initiate previously unknown behaviors and, over time, create operative new realities. Its meaning lies not in what it is (identity or objectification), but in what it effects. (continued)
Published in Connectivity: Art and Interactive Telecommunications, a special issue of Leonardo (Vol. 24, No. 2) edited by Roy Ascott and Carl Eugene Loeffler, 1991.
© 1991 ISAST
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