Popular Mechanics refers to the overlap of humanity and technology.
We are cyborg because of our interface with technology. Where does our nervous system end and the matrix begin? The internet is a vast physical construct of artificially-linked nervous systems. Our bodies become a blurred border between our thoughts and feelings and the digital media we connect with for hours a day.
Are we comfortable with our most cherished thoughts and feelings, our finely honed human sensibilities, being digitized into data?
In techno-culture our identity becomes de-centered and we find we have fluid, multiple selves. Boundaries between mechanical and organic begin to disintegrate.
Since I am already interested in the interconnected-ness of things, it seems like it’s possible to view the vast complexity of the global internet as a metaphor for reality itself(!). Everything is connected to everything else. That’s what quantum physics is telling us.
In an information society, immersed in technological culture, the old dichotomy of form and content becomes apparent. The internet is a formal structure, unaware of what it communicates. The content, however, is determined by us, the analogue hybrids that use it. Will the artist then be more concerned with formal problems or with the subject-matter?
In this century an artist cannot ignore the techno-culture we are enveloped with, nor its implications. But the beauty is that all the technological hardware heightens and emphasizes our human-ness.
The artist now becomes the mutant, a brooding, romantic figure, working with traditional materials but expressing the aggressive poetics of the 21st century.
To allow one’s self to fall into the sublime, consumed by a desire to cross over to another realm.
Immersed in drawings black as coal
I leap, and trusting, find my soul.
“Connection” charcoal on paper, 42×96″, P. Illig.