“Re=purpose of Information: Art as Network” presented by Slayton

Symposium:

• ISEA98: Ninth International Symposium on Electronic Art
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• Short Paper Presentations

• Re=purpose of Information: Art as Network

• Joel A. Slayton

• This paper examines an analytic perspective on the nature of Art as network. It defines the nature networks as hypertextual information space described as semiotic meshes which consist of the emergence of self-similar alternates;, coded performances of interaction and immediacy. Art as network is defined as that which is the result of hypertextual coherency’s based on the dis-simulation of information.

  Somniferous immersive actions of information immediacy and interactivity concede into networked like semantic meshes of infinite and simultaneous regress. Like the properties of hyper-dimensional mathematics matrices, semiotic meshes, associate and enact complex entanglements of information meanings through coded data behaviours. Entanglements, the result of such conditionals, of semantic meshes and mathematical operations are cognate Understood as hypertextuality, entanglements are compelled by dispersed connectivity and rates of accessibility subjugating semantic meshes into information entanglements as modes which shape the dynamic character of the internet and world wide web.

  In that, “networked” information, can only be “present” as a dis-simulation of itself, that is, as a pretence to its own functionality, the performance of immediacy and interactivity guide network functionality as self-similar information modes understood as alternates. Self similarity of immediacy and interaction is not an equivalency in the perceived of subject but rather a hypertextual coded derivative embodied by the alternate, a dis-simulation of a networked appearance. The intention of design as purposed difference that make a difference is replaced by the alternates, identity of hypertextual performance. Subject is no longer bounded by its data and can no longer be re=purposed in the sense of appropriation. Re-configuration of networks via permutation, pandemonium, chaos give rise to emergent information behaviours that share tactical self-similar entanglement strategies. It is the alternates that expatiates on network hyper-dimensionality, warping the net’s entanglement meshes and commandeering strategic principals of substitution. Only the alternates is meaningful as search, navigation and speed.

  Information entanglements of entertainment, news, business, advertising, porno, academics and personal communications are necessarily simulations of themselves and consequently the net itself. Every instance of hypertextual experience propagates a mimicked substitution of correlative and interactive distortion of network space rippled by mirrors of connectivity of self-similarity. Alternates, the casual catylist for hyper-dimensional expansion, replicate endlessly and unintentionally in an infinite regress of authorless histography of hyper-cues. Strategic and tactically implemented links shape network space as a depthless array of traversing interactions from alternate to alternate.

  Modernist notions such as the persistence of meaning, casual relationships of information structures, association and context subsumed into a meaning that is derivative of coded behaviours of the purposed semantic units (what information does not what it means). Art as a self-similar, emergent hypertextual entanglements is Art as network.

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