Page 144 - Polona Tratnik, Transumetnost. Kultura in umetnost v sodobnih globalnih pogojih, Digitalna knjižnica, Dissertationes 10
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Transumetnost
The author comprehends transart in relation to the society, which has
been, transiting from modernity to postmodernity, put on the throne as
the postindustrial, the consumer, the media, and as the informational soci-
ety, as society of electronics, high technologies, as well as the reflexive and
risk society. Contextualization and wider, transdisciplinary comprehensi-
on helps her drawing structural features of transart, as well as discussing
its functions, missions and possibilities. The shifts are observed in several
art spheres: in visual and intermedia arts, film, music, sound experiments,
cyber arts and others. Today art is not concentrated on production of arti-
facts (which would functions as commodities) designed for contemplation,
but is rather devoted to researching and often results in nonmaterial (pro-
cessual, temporal) outcomes. For transart are especially interesting the ex-
plicit tendencies to exceed modern differentiation with new modes of con-
necting art to science and technology. As forms of research practices such
arts use contemporary expressive tools, technologies and specialized envi-
ronments. For the special interests and objectives transart projects inclu-
de not only artists (whose practice, profession have changed much in com-
parison to modern forms) but also various professionals from other social
fields, disciplines (neuroscientists, cosmologists, biotechnologists etc.). In
such a manner transart in entering various “nonartistic” discourses in rela-
tion to which it questions actual ethical, cultural, anthropological and phi-
losophical questions – it appears as a hybrid between art, humanities, soci-
al and natural sciences, and technology. The projects are mostly structural-
ly, functionally and technologically demanding and need strong and com-
plex production infrastructure.
There is more attention focused on the question of the socially criti-
cal role of art (in contemporaneity and in relation to the historical avant-
gardes). Transart reflects the recent scientific achievements, the usage of
sophisticated technologies (it presents for example alternative usages and/
or deconstructs the existent technological-discursive systems), postmoder-
nisation processes at different levels and it opens, above all, actual soci-
al problems (waste, poverty, the control, the consumer culture). However,
contemporary resistance accessions in culture can almost not avoid the ge-
neral presence of digitalization. The former is furthermore related to the
equally important coming of the computer paradigm in economy and cul-
ture, which is at last but not least evident as a shift from commodification
to consumerism. In such situation art practices are those social agents that
try to communicate with the subjects (who are subjected to several ideolo-
gies) and stimulate their critical consciousness.
The author comprehends transart in relation to the society, which has
been, transiting from modernity to postmodernity, put on the throne as
the postindustrial, the consumer, the media, and as the informational soci-
ety, as society of electronics, high technologies, as well as the reflexive and
risk society. Contextualization and wider, transdisciplinary comprehensi-
on helps her drawing structural features of transart, as well as discussing
its functions, missions and possibilities. The shifts are observed in several
art spheres: in visual and intermedia arts, film, music, sound experiments,
cyber arts and others. Today art is not concentrated on production of arti-
facts (which would functions as commodities) designed for contemplation,
but is rather devoted to researching and often results in nonmaterial (pro-
cessual, temporal) outcomes. For transart are especially interesting the ex-
plicit tendencies to exceed modern differentiation with new modes of con-
necting art to science and technology. As forms of research practices such
arts use contemporary expressive tools, technologies and specialized envi-
ronments. For the special interests and objectives transart projects inclu-
de not only artists (whose practice, profession have changed much in com-
parison to modern forms) but also various professionals from other social
fields, disciplines (neuroscientists, cosmologists, biotechnologists etc.). In
such a manner transart in entering various “nonartistic” discourses in rela-
tion to which it questions actual ethical, cultural, anthropological and phi-
losophical questions – it appears as a hybrid between art, humanities, soci-
al and natural sciences, and technology. The projects are mostly structural-
ly, functionally and technologically demanding and need strong and com-
plex production infrastructure.
There is more attention focused on the question of the socially criti-
cal role of art (in contemporaneity and in relation to the historical avant-
gardes). Transart reflects the recent scientific achievements, the usage of
sophisticated technologies (it presents for example alternative usages and/
or deconstructs the existent technological-discursive systems), postmoder-
nisation processes at different levels and it opens, above all, actual soci-
al problems (waste, poverty, the control, the consumer culture). However,
contemporary resistance accessions in culture can almost not avoid the ge-
neral presence of digitalization. The former is furthermore related to the
equally important coming of the computer paradigm in economy and cul-
ture, which is at last but not least evident as a shift from commodification
to consumerism. In such situation art practices are those social agents that
try to communicate with the subjects (who are subjected to several ideolo-
gies) and stimulate their critical consciousness.
