A dialogue with Olga Shishko
The theme of “new sight” or “new vision” was one of the central concerns of the art of the avant-garde of the 20th century. It was associated not only with artistic discoveries but, perhaps above all, with the rapidly changing environment around an individual person. Art in the age of modernity, rejecting the rational, geometrically accurate perspective of Renaissance invention, attempted to return to the “natural” model of vision, discovering it again in archaic or naïve works of art, or experiments, such as those of Michael Matyushin, with their “extended looking.”
Art helps us understand the “invasion” of electronic media in the most familiar, basic relationship between the body and the visible world—our notion of this world and the language used to describe it. Not surprisingly, this transformation of relationships requires a transformation of art spaces, the emergence of “hybrid media,” to recall Lev Manovich’s term.
Within the field of contemporary art, the electronic arts cover a vast spectrum which for a long time has been absent in the fields devoted to professionalization, research and production. The electronic arts place technology at the centre of the reflection, not as a mere creation tool, but as a language that deploys unique mechanisms from the aesthetic, cognitive and conceptual point of view with regard to the man-machine dialogue. In this sense, the electronic arts imply an approach that links together diverse areas of knowledge—fundamentally art, science, and technology—and propose a form of work that encourages the transdisciplinary dynamic.
The UNTREF’s undergraduate degree in Electronic Arts works from the basis that there is a transversal dialogue crossing through art, science and technology that can only modify each of these fields. The programme is proposed as a space for exchanging and interconnecting knowledge, making it possible to coordinate perspectives and attitudes, reflections and questions with regard to the individual, the work and their surroundings.