ARTiculAction Art Review - Special Issuue Aug. 2016 | Page 129

Mark Franz

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hard to understand, and therefore
intimidating when compared to the
“simplicity” of the previous technology used
to create art. This is why I have an affinity
for animation. Its very existence is due to
complex technological innovations, but
because the product is simple and dynamic
enough to entertain children, and it has
been around for over one hundred years, it
is not considered as unapproachable as an
art video game. Video games include
animation, but add complexity through
interactivity. Interacting with something like
this is not a universal experience in our
current society, but it will be in a hundred
years. New media is a great title because
there will always be new, new media, the
question is whether people will get use to
excepting that as equally valuable as art. Art
has the burden of the “aura” that is created
from authenticity, and mass production has
been labeled as the antithesis of that, thank
you Walter Benjamin, but the other option is
to see authenticity as an event that can
occur anywhere at anytime. Authenticity can
be interpreted as a one of a kind experience
instead of a one of a kind physical object. If
this becomes a generally accepted
sentiment in the art world, I think that new
media will simply be a more acceptable form
for works that are generally seen to have
value.
As far as art and technology assimilating
into one another, we can say that has
already occurred, if we accept the most
liberal definition of technology, but if we are
referring only to current contemporary
forms of technology, I don’t think that will be
the case. The traditional forms of drawing,
painting, sculpture, ceramics, and many
others, are at the core of many new media
processes, and will continue to be highly
valued practices on their own. They are also
highly technological in the contemporary

sense. Considering that, maybe technology
and art should be considered as
interdependent. This would certainly help to
raise awareness of the importance of art
among the fields of science, technology,
education, and math.
Zelda Deforested also inquires into the
interstitial space between personal and
public spheres, providing the spectatorship
with an immersive experience that forces
such a contamination between the inner
and the outside: how do you see the
relationship between public sphere and the
role of art in public space?

The role of art in public space means that is
a social experience. Seeing a large public
sculpture in a city is a completely different
experience from stumbling upon a similar
form in the wilderness alone, but both are
social, and dialogues between the maker
and the audience, intentional or
unintentional. The only truly personal work
is one that is created by the artist for him or
her alone. The better delineation for me
might be between intimate and open
spheres. Small spaces meant for one viewer
produce an intimate dialogue that feels
personal and private, although it is not. That
feeling is important however, and changes
the interpretation of the work. The role of art
in this public space then becomes tied to
intimate experiences, and then can be
translated to the public sphere through
primary or secondary interpersonal
communication. That is communication
about the work specifically or that the work
helps to produce. Work on a larger scale
draws more viewers and simultaneously
engages the public sphere in a public space.
The great thing about Zelda Deforested is
that it can be displayed as either a public or
intimate interaction depending on the space
and audience.

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