On the Relationship between Art and Technology.docx
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On the Relationship between Art and Technology.docx
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OntheRelationshipbetweenArtandTechnology
OntheRelationshipbetweenArtandTechnology
inContemporaryMusic
1.ResearchReport
BarbaraBecker
GMD
St.Augustin,Germany
GerhardEckel
IRCAM
Paris,France
Contents
∙1.Introduction
∙2.InterpretingtheWorld,or:
the"Two-cultureProblem"
∙3.ArtandTechnology:
IntersectionsandInterconnections
∙4.TheUseofTechnologyandTechniquesinArt
∙5.TheRelationshipbetweenTechnology,Technique,andArt
o5.1Perspectivesandpositions
o5.2Assumptions
o5.3Someremarksonthesituationincontemporarymusic
▪5.3.1Whycomposersusecomputers
▪5.3.1.1Extensionofcompositionalcontrol
▪5.3.1.2Emancipationfromtraditionalcompositionalapproaches
▪5.3.2Currentstate
▪5.3.3Hypothesesaboutthecauses
▪5.3.3.1Inadequatetools
▪5.3.3.2Inadequateuseoftools
o5.4Moregeneralremarks
∙6.Resume
∙7.Acknowledgements
1.Introduction
Inthediscourseofphilosophicalaestheticsduringthelasttwocenturies,itisevidentthatthequestionoftheessenceofarthasplayedacentralrole.Inthistradition,artwasnotunderstoodas"somethingconstructed".[1]Instead,artwasintegratedintotheconceptualworldofepistemologythroughthephilosophicalaestheticsdevelopedinthemajorphilosophicalsystems.Accordingly,withinthismetaphysicaltradition,artwasattributedanexploratory,interpretativeandepistemologicalfunction,insofarasitwasassumedthattruthcouldappearinagivenwork.
Moderntheoriesofarthavefreedthemselvesfromthisphilosophicalbondage,especiallyfromthemetaphysicalobjectiveofexpressingtruth[2]byart,tendinginsteadtoorienttheirapproachestowardempiricalsciences.Thusatthecentreofreflectionontheoriesofartislessawork'sontology,butratheritsexperientiality[3],thatisthewayhowitwillbeperceivedandinterpreted.Concomitantly,concentrationhasshiftedtospecificaspectsofart,liketheaestheticuseofsigns,schematisationmodes,orthemessageofart,andthusthemetaphysicalconstructarthasbeenseparatedintodefinable,explainablecomponents.Theproductionandreceptionofart,thecharacteristicsofitsmedium,itscapacityforcommunication,itseffectivepossibilitiesandtheirconsequences--alltheseconsiderationshavebecomepointsofreflectionwhichcanbeanalysedindependently.
Thisisthecontextintowhichthepresentessayfits.Consequently,itisnottherelationshipbetweentechnologyandartingeneralwhichwillbetreated;rather,wewanttoexaminecriticallytheinteractionofartisticandtechnologicalperspectivesandapproaches.Inthisdiscussiononusingtechnologyinart,wewillconcentrateprimarilyontheaspectofartisticcreationtodocumentdifficultiesandpossibilitiesandtopointoutrelationshipswiththeepistemologicalinterests[4]andcriteriaofvalidity[5]ineachdiscoursearea.
Thisimpliesthefollowingprocedure:
First,wewillpresentandanalysecriticallythehypothesisofthe"twocultures".Then,wewillexaminehow,inanempiricalanalysisofpartialaspectsofart,connectionstotechnologycanbeestablishedwhichrenderquestionablethestrongdiscrepancyofthecriteriaofvalidityinthesetwodomains.Here,wewilltaketheuseoftechnologyincontemporarymusicasanexampletoshowinwhatwayartisticobjectivescanberealisedusingtechnologicalpossibilitiesandtoshowwhatproblemsarise.Wewillthendemonstratehowthesedifficultiesresultfromtheimplicitacceptanceoftechnologicalhabitsbyartists.Andfinally,wewilldiscussinwhichwaytechnologycanbeusedinartwithoutgivingupaestheticintentionsandcriteria.
2.InterpretingtheWorld,or:
the"Two-cultureProblem"
InwritingsofearlyGreekphilosophers,referencescanbefoundtodifferentwaysofinterpretingandapproachingtheworld.Aristotle,forexample,differentiatesbetweenatheoretical,acreative,andapracticalorientation.Accordingtothis,thegoaloftheoreticalscienceisthesearchfortruth;thegoalofpractice("Praxis")istheactortheresultofactsaswellastheproperwayofacting("dasrichtigeTun");thegoalofpoiesisismakingandproducing.
Analogoustothisearlydistinctionareequivalentattemptsatdefinition,whichcanbefounduptothisday.Sciencehasbeenprimarilyimputedtheoreticalepistemologicalidealswhoseaimwasfindingtruth.Technique[6]hasbeencharacterisedasprincipallypractical,beingorientedoncriteriaofusefulness.Andartwasattributedanindividuallyexpressive,sensuallyandemotionallycharacterisedexplorationfunction[7],beyondlogocentricorexpediencypotential.Inthisway,andespeciallyfromametaphysicalperspective,artcamealmostnaturallyintocontradictionwithscienceandtechnique.
Especiallyinthediagnosesofphilosophicalculturalcriticism,astheyweredevelopedbyHeideggerandAdorno,forexample,thedistinctionbetweenartisticexpressionandtechnologicalrationalismgainedparticularmeaning.TechniquecametobeinterpretedastheexpressionofatotalitarianMAN[8]againstwhichonlyartcouldsetadifferentaccent,forartwasthoughtofasbeingcapabletoexpressundefinable,unpronounceableaspectsoftheworldwhichescapefromtechnologicalcontrol.
Inthecontextofthisinterpretation,techniquewascharacterisedasfollows:
ThefundamentalparadigmofalltechnicaldevelopmentistheideaofVerfügbarmachung(makingsomethingavailable).Thisrefersnotonlytothedominationofnaturebutalsotothecontrolofsocialprocesses.Arelatedexpectationisthattechniquealwayshastoserveapurpose.Technologicalproductsmustbeuseful,whichmeansthatinpractice,theymustbemanageableaswellasutilitary.Accordingtoexponentsofculturalcriticism,withthespreadoftechniquethedangerincreasesthatthewholeworld,includinghumanbeings,becomenothingmorethananobjectoftechnicalavailability.Increasinglywithinourculture,theonlypossibleparadigmandprofitablewayofinterpretingandapproachingtheworldappearstobeanorientationonexclusivelyrationallydeterminedexpediency.
Inoppositiontothissortoftechnologicaldominationbytechniqueandassociatedattitudes,Adornointerpretedartastheonlypossiblealternative.Hepointedoutthatepistemologicalobjectiveofart[9]alwayswasdiametricallyopposedtothatoftechnique:
Whiletechniqueaimedatageneralorderingandaglobalcontrol,art-incontrast-revealedindividualandparticularaspectsofthehumanexistence.Inartisticexpression,newviewsoftheworldwhichcontrastwithgeneralparadigmsoftechnologycouldbeexperiencedandarticulated.Initslackofpurpose,artaimednotatmakingsomethingavailable,butrather,initsverydistancefromtheattitudespropertotechnique,itreferredtoalternativemodesofindividualandculturalwaysofliving.
PointsofviewsimilartothesearealsofoundintheworksofthephilosopherJürgenHabermas,whoundertakesafundamentaldifferentiationbetweenthesystem-world("Systemwelt")andthelife-world("Lebenswelt")[10].Thesecategoriesimplyanimportantclassificationforourdiscussion:
Artisdescribedasanessentialaspectoflive-world,whiletechnologyisunderstoodasapillarofthesystem-world.Thecriteriaofvaliditydifferaccordingly:
Whileartisattributedbeingcapabletoexpresswhatissignificantfortheindividual,theparadigmoftechnologyincludesrationalpurpose,goalorientationandtheideaoffeasibility.Habermasmakesevidenttheextenttowhichthesetwodiscoursesexertamutualinfluence;nonetheless,theepistemologicalandpracticalobjectivesofthetwoarediametricallyopposedinhiswritings.Thus,anorientationtowardspurpose,utility,andavailabilityappearshereascharacteristicsoftechnique,whileartisdescribedasaimingatindividualexpression,authenticity,andbyitsattempttoescapefromthepurpose-orientedparadigmofavailabilitybyusingpre-rationalandnon-predicativewaysofinterpretingtheworld.
Thedichotomybetweenthediscoursesofartandtechnologywhichisassumedinsuchtheoreticalapproaches,wouldhaveconsequencesfortheanticipatedsynthesisinthedomainofmediaart:
-eitherthesynthesiscannotberealisedbecausethedifferentepistemologicalobjectivesandwaysofinterpretingtheworldwillneverfittogether;
-orartwouldpayforthesynthesiswiththelossofitsparticularcriteriaanditsspecificexploratoryfunction,asituationtantamounttotheburdeningofartisticintentionwiththeparadigmsoftechnology.
Inthefollowing,letusexaminemorecloselythesuppositionsassociatedwithsuchadifferentiation.Asweindicatedintheintroduction,mostclassicattemptstodefinethediscourseofartsufferfromthefactthattheevaluationofartsusuallyisundertakenfromtheperspectiveofartreception.Usually,animplicitontologicalassumptionliesatthebaseofsuchanalyses.Combinedwiththisistheclaimforautonomyinart[11],whichincreasinglyhasbecomedubiousandwasidentifiedasaresidueofbourgeoisculture.Theinstitutionalisationofartasasociallyautonomousdiscoursewasandiscombinedwithexclusionarypractices,whichhaveaconstitutingfunctionforeverydiscourse.Thisprocessofinstitutionalisationpresupposedclearcriteria,whichwereintendedtodetermineifaworkisconsideredtobeartornot.Withthepost-modernwideningtowardstriviality,however,exactlytheseexclusionaryinstitutionalisingpracticesbecamequestionableandwiththemtheassociatedcriteriaofvalidity.Artasanindependentdomain,asitappearsintheworksofHeidegger,AdornoandevenHabermas,loosesitsclearboundaries-itsfunctioninthecultureismoreandmor
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