"Yet the more questioningly we ponder the essence of technology,
the more mysterious the essence of art becomes."
(Ger. "Je fragender wir jedoch das Wesen der Technik bedenken, um so
geheimnisvoller wird das Wesen der Kunst" - v: M. Heidegger: Die Technik
und die Kehre, Pfullingen, 1962, s.36)
Interactivity, Game and Total Immersion
(Commentary on Dragan's Electronic Art Projects)
Today, techno-art presents a challenge not only for art but also for
he various theories, which can discover-through techno-art and in laboratory-clean
conditions-all kinds of fatal shifts in the area of contemporary creativity,
development of new, interactive, user-friendly technologies and perceptions.
This is the area of techno-art where the Slovene artists are becoming increasingly
noticeable. The most prominent of them is the new-media artist
and art teacher Srečo Dragan. He is one of the pioneers of video
art and conceptual art in Slovenia. Recently, he has been focusing on the
genre of electronic interactive installations and Web art projects. His
exhibition Rotas – Sator / Interactive Art Internet Interior allows us
to fully grasp his experimental art of that period.
The subtitle is very indicative of the conceptualization of this exhibition
that was put on by the Ljubljana gallery Equrna in 1997, as it emphasizes
an interactive approach to the interior through the Web (global approach).
The interior is composed of five, more or less inter-compatible, installations,
and features the Cyborg's Eye, which is in technical sense a remote-controlled
video camera accessed via the Internet.
It is precisely the new media and technologies that certainly enriched
the view of the viewer's complex experience, based on the techno-augmented
vision; on the new forms of the guided view; on its seduction and dissipation;
its discovery and concealment. It is true that Dragan in Equrna demonstratively
exhibited the ntelligent machines in their current, very much interactive
role; however, he also created with them a realm of his own artistic endeavors.
If anything, this exhibition is a convincing testimony to the fact that
computer graphics and animation (Let us recall some of his previous projects
which are, in a modified form, included in the present exhibition e.g.
Rotos-Axi mundi, Topolovo Station, The Landscape of the Artist - Koprivnik
and Rotas -Tenet) truly and authentically function only when it is "choreographed"
in the interactive medium. Analogue video can find its rightful place
in television programming, while digital video (computer animation) really
comes to life only in its interactive form when it becomes the subject
of the viewer's playful manipulations.