Here’s a video of a presentation made by Bruce Sterling on 6th February 2010 at the Transmediale Futurity Now! festival in Berlin. The theme is “atemporality,” the sense that new media has moved us beyond modernism, beyond postmodernism, beyond all the “grand narratives” of traditional historical discourse. Sterling asks how we survive in this new environment and offers a range of never-less-than interesting and stimulating strategies for designers, artists, and academics. Here are a couple of taster quotes:
1) The Frankenstein Mashup (aka sampling, collage, bricolage):
So how do we just — like — sound out our new scene? What can we do to liven things up, especially as creative artists? Well, the immediate impulse is going to be the Frankenstein Mashup. Because that’s the native expression of network culture. The Frankenstein Mashup is to just take elements of past, present, and future and just collide ‘em together, in sort of a collage. More or less semi-randomly, like a Surrealist “exquisite corpse.” You can do useful and interesting things in that way, but I don’t really think that offers us a great deal. Even when it’s done very deftly, it tends to lead to the kind of levelling blandness of “World Music.” That kind of world music that’s middle-of-the-road disco music which includes pygmy nose-flutes or sitars. This kind of thing is tragically easy to do, but not really very effective. It’s cheap to do. It’s very punk rock. It’s very safety pins and plastic bags. But it’s missing a philosophical high-end…
2) Generative Art:
Then there are other elements which are native to our period that didn’t really work before, such as generative art. I take generative art quite seriously. I’d like to see it move into areas like generative law, or maybe generative philosophy. The thing I like about generative art is that it drains human intentionality out of the art project. Say, in generative manufacturing, you are writing code for a computer fabricator, and you yourself don’t know the outcome of this code. You do not know how it will physically manifest itself. Therefore you end up with creative objects that are bleached of human intent. Now there is tremendous artistic intent — within the software. But the software is not visible in the finished generative product. To me, it’s of great interest that these objects and designs and animations and so forth now exist among us. Because they are, in a strange way, divorced from any kind of historical ideology. They are just not human.
3) Gothic High-Tech vs Favela Chic:
We are in a period which I think is dominated by two great cultural signifiers. An analog system that belonged to our parents, which has been shot full of holes. It is the symbol of the ruined castle. Gothic High-Tech. The ruins of the unsustainable. And the other symbol is the favela slum, Favela Chic, the informalized, illegalized, heavily networked structure of the emergent new order. The things that the twenty first century is doing that are genuinely novel, that have not been domesticated or brought into sociality. The Gothic High-Tech and the Favela Chic. These are very obvious to me, as a novelist and creative artist. Perhaps you won’t see things this way — but I think the life-span of this will be about ten years. A new generation will arise who does not need things explained to them in this way. They will not wonder at a slogan like “Futurity Now!” because they will have never known anything different.