The final reading for Networked Media is Steve Dietz’s Ten Dreams of Technology. Dietz works with museums to architect digitally based cultural programming and is currently the Director of New Media Initiatives at the Walker Art Center in Minneapolis, Minnesota.
Ten Dreams of Technology is a speculative piece about what the future holds for the intersection of art and technology. Dietz says each of his ‘dreams’ (or themes) has a future ‘even if we do not yet know what it is and despite the certainty with which it is predicted’. This seems to summarise so much of the Networked Media course – less focused on conclusions, finite answers; more about opening doorways and exploring possibilities of what could emerge.
Dietz’s collection of ‘dreams’ are a manifestation of artists’ questions and artworks which he describes as being admirably ‘compelling’. His dreams are as follows:
- The Dream of Symbiosis
- The Dream of Emergence
- The Dream of Immersion
- The Dream of World Peace
- The Dream of Transparency
- The Dream of Flows
- The Dream of Open Work
- The Dream of the Other
- The Dream of New Art
- Hacking the Dream
The Dream of New Art is possibly the most obvious of these dreams, given the potential of the online world and what it may offer the art world (alongside almost every other field). Dietz writes that ‘as moving images eventually created cinema’, internet-based art encourages exploration and the creation of a whole new art form.
In explaining The Dream of Symbiosis, Dietz refers to Norbert Wiener’s concept of Cybernetics, where the human and the machine learn from their interaction with the other, and could thus evolve to a high level of functioning.
Dietz also quotes J.C.R. Licklider (1960) – a contemporary of Wiener – who said the coupling of human brains and computer machines will form a partnership with the ability to:
‘think as no human brain has ever thought and process data in a way not approached by the information-handling machines we know today’.
The Dream of Immersion is evident in the works of Char Davis, to whom envelopment is at the core of her works. Dietz also suggests virtual reality as a technological manifestation of viewer immersion, a development of Myron Krueger’s ‘responsive environments’ and ‘artificial reality’.
I particularly liked The Dream of World Peace. This ‘dream’ is based on the rhetoric that:
‘the ability to communicate quickly and easily leads to greater understanding, which then leads to greater tolerance and the certainty of harmony’ .
Whether that is idealistic, ignorant or hopeful, I’m not sure. Perhaps all three, yet it is a dream I suspect offers great universal potential for progress and resolve.
On The Dream of Open Work, Dietz cites Umberto Eco (1987):
‘every reception of a work of art is both an interpretation and a performance of it, because in every reception the work takes on a fresh perspective’.
While the ideas are far from the same, this nonetheless reminded me of Elliot’s question whether narratives exist only after we recognise them internally. I suppose it suggests the power of our cultural, personal and varied histories in influencing how we perceive, comprehend and interpret works of art.
I’d suggest the ways in which Dietz acknowledges the innovation of the digital age summarises so much of what we’ve discussed over the past six weeks:
‘One of the strongests shifts of emphasis in the digital age has been on the production side and on the movement from creating finished works of art to creating systems for the production of art.’
His use of the word ‘systems’ and focus on production, creativity and openness accounts for many of the ideas Networked Media has unveiled and propelled me into examining.
Finally, I found great pleasure in Dietz’s use of the term ‘hacking’. I’ve recently written a lot about hacking and hackschooling, and Logan LaPlante‘s TEDx talk. Dietz writes:
‘Artists were among the earliest and most active participants to recognize the potential of the Internet – certainly long before most institutions and corporations.’
Artists use the online world as a networking tool as well as a source and vehicle for creativity, or ‘to hack its capabilities for alternative purposes’. The whole hacking philosophy is so often portrayed in the media in such a negative light, and yet the work of hacking pioneers such as the late Aaron Swartz, and LaPlante himself are motivated through the search for the greater good. Hacking might be devious in some cases, but we must refrain from generalising in this area. The digital age has given us the opportunity to hack networks in the pursuit of maximising their potential.
Richard Stallman said hackers explore the limits of what is possible, thereby doing something exciting and meaningful. And isn’t this what life is ultimately about?
Dietz’s ‘dreams’ expose the potential the digital age offers the evolving art world. But I think we could extrapolate these possibilities into other fields when examining their potential in a constantly evolving world. The future demands we approach with open minds, eyes and ears, and engage with networks, technologies and other human beings to stimulate ourselves into making a positive contribution to the world of future generations. Just how, is up to us.
And here’s an amazing example of the symbiosis of traditional art and technology: