Postscript:
On The Lightness of Flash
by Lev
Manovich
When I
first visited the most famous Flash site – praystation.net
– I was struck by the lightness of its graphics. More quite
when whisper, more elegant than Door or Channel, more minimal than
1960s minimalist sculptures of Judd, more subdued than the winter
landscape in heavy fog, the site pushed the contrast scale to the
limits of legibility. The similar lightness and restrain can be
found in many projects included in Biennale 01 show. Again, the
contrast with screaming graphics of commercial media and the media
art of the previous generations is obvious.
The lightness
of Flash can be thought of as a visual equivalent of electronic
ambient music. Every line and every pixel counts. Flash appeals
to our visual intelligence - and cognitive intelligence. After the
century of RGB color which begun with Mantises and ended with aggressive
spreads of Wired, we are asked to start over, to begin from scratch.
Flash generation invites us to undergo a visual cleansing –
this is why we see a monochrome palette, white and light gray. It
uses neo-minimalism as a pill to cure us from postmodernism. In
Flash, the rationality of modernism is combined with the rationality
of programming and the affect of computer games to create the new
aesthetics of lightness, curiosity and intelligence. Make sure your
browser have the right plug-in: welcome to generation Flash.
I am not
advocating a revival of modernism. Of course we don't want to simply
replay Mondrian and Klee on computer screens. The task of the new
generation is to integrate the two key aesthetic paradigms of the
twentieth century: (1) belief in science and rationality, emphasis
on efficiency and basic forms, idealism and heroic spirit of modernism;
(2) skepticism, interest in “marginality” and “complexity,”
deconstructive strategies, baroque opaqueness and excess of postmodernism
(1960s-). At this point all the features of the second paradigm
became tired clichés. Therefore a partial return to modernism
is not a bad first step, as long as it is just a first step towards
developing the new aesthetics for the new age.
Of course
this aesthetics should also fully engage with the difficult questions
of globalization. The remix culture we are living now is not only
engaged in remixing all previous cultural forms and texts of but
also in remixing various features which come from what used to be
call national cultures as well as from already existing remixes
between immigrant populations and their “host” cultures.
The solution offered by multinational conglomerates – a composite
which takes certain signifiers from a few national cultures –
for instance, French idea of elegance, Japanese manga iconography,
“cool Britannia” references, and so on, and integrates
it all into a rather bland and monolithic text which is then being
send back to all the places around the world – is obviously
not a satisfactory solution. (It reminds me of Soviet-style centralized
economy when the all the output of collective farms was send to
the center where it was decided how it was distributed nationally.)
Luckily, numerous remixes which follow different logics are being
explored around the world by musicians, theater groups, dancers,
designers, architects, and so on. Nobody knows what will emerge
from this global cultural laboratory – and this is what makes
out times so interesting.
Although
most of my arguments in this book are about visual culture and visual
aesthetics, it is relevant at this point to evoke a different practice.
Music historically has been the artistic field that was always been
ahead of other fields in using computers to enable new aesthetic
paradigms. The whole practice of popular electronic music in the
last three decades is a testament to how empowering new technologies
are in welding new complex and rich remixes between different cultures,
styles, and sensibilities. Without electronic and computing technologies
– from a turntable and a tape recorder to peer-to-peer file
sharing networks and music synthesis software running on a regular
laptop, most of this culture would never come to be. The field of
electronic sound (which pretty much means most sounds today) with
its multitude voices and a real bottom-up, “emergent”
logic, Is a powerful alternative to the “top-down” cultural
composites sold by global media conglomerates around the world.
Let us hope that other artists and designers in other fields will
follow music lead in using a computer to enable similarly rich remix
cultures.
|