When the industrial and mechanical environment first enveloped the old agrarian world, Nature became an art form for the first time. So did all the old crafts, the yokel, and even savage. The parallel, earlier, was the uplifting of the hunter to a snobbish, aristocratic status when the agrarian world took over as environment and the old hunting grounds became the "content" of new technology. When the industrial and mechanical age became environmental, the arts and crafts acquired a new snobbish, amateurish quality. They became the content of the mechanical age and were accorded the usual upgrading of status. When the electric technology enveloped the mechanical one, we were plunged into the world of machine as art form. Abstract art and functional architecture took over as mimetic repeats of old environment. Pop-Art is part of the same technological fugue.
The message and impact of the new environment is quite at variance with the content of new technology. The content is always the old technology, just as the novel was the content of the film when it was new. Now as film is processed by TV, the story line of the book form tends to disappear. The movie form now begins to acquire the nonnarrative structure of a Symbolist poem of a century before. There is thus no direct means of environmental awareness to be won from the consumer approach to such “art” activity. Indirectly, it is possible to construct the characteristic bias of the new environment from the current stock responses…

Marshall McLuhan, Art as Anti-Environment, Art News Annual 31, 1966, 55-8.

Thanks Douglas for this reference.

research stream for a project by nicolas nova (the near future laboratory / HEAD-Genève) about the hybridization of reggae-dub with digital culture (glitch, 8bits, video-game aesthetic).

probably a book, probably not.

in English et en français, selon.


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