PROGRAM TEN: BAROQUE
INTERFACE
In order to articulate new cybernetic paradigms of art and politics, a surprisingly
wide range of digital artwork appropriates early modern constructions of artistic
form, space, light, volume, passion, memory, and utopia. The artists in this
Program invite you to reflect on the electronic apparitions of Rousseau, Velasquez,
early music and its historical and contemporary visual interfaces, the textural
folds of relics and bits of paper, not to mention the excessive traces of Baroque
space, rhetoric, performance, and corporeality. Is it inconsequential to the
understanding of today’s paradoxical attraction and resistance to electronic
art that its early modern sources were developed in an age of crisis, much like
our own, of rapid global transformation, mistrust of the passions, pervasive
epidemic and death, ambivalent attraction to the cultural other, revisionary
philosophical investigation, and widespread cultural wars? “The Baroque is linked
to a crisis of property,” adds Deleuze, “a crisis that appears at once with
the growth of new machines in the social field and the discovery of new living
beings in the organism.” The cross-historical CD-Roms in this Baroque Interface
emphasize (some more subtly than others) the degree to which the cyborg and
its growth of digital machines are subject to, "interfaced with," complex historical
and institutional modalities of race, sexuality, and political difference that
emerge from the cultural residue of the "new science," the "old art,” and the
"Gutenberg revolution."
Jean-Louis BOISSIER, Flora
Petrinsularis, 1993-94 (France)
Rae DAVIS, Relic/relique,
1999 (Canada)
Douglas HOLLELEY, Bits of Paper,
1998 (USA/Australia)
Kate RICHARDS, Red Iris Interactive,
1997 (Australia)
David WARNER, Hortus Musicus, 2001 (USA).