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ABSTRACT PhD-thesis Kunst als Handlungsfeld, Birte Kleine-Benne, 2005.
In my PhD-thesis I'm developping a constructivist-epistemological (instead of a realistic-ontological) conception of art in a theoretical alliance with the science of systems, of complexity and of nonlinear dynamics and searching for the syndrom Kunst als Handlungsfeld based on conditions of a principle of connectivity, also of a deontologic and of an operationalization. As a result of the self-referential processes of art and the technization of aesthetics in the nineties, you can observe artistic practises in contemporary art that operate e.g. as an operational catalyst or as an aesthetical space of resonance, using time and structure as material, researching and performing effective dispositivs and meeting criteria of complexity and dynamics. These phenomena of higher complexity operate with strategies of perturbation, irritation and infiltration and form an aesthetics of uncertainty and unprediction; their physiognomy is marked with operationality, processuality, dynamics, activity, experimentation. Art hereby shows the possibility for exploration and development of new models of perception and action as well as an affection and perception-based construction of concepts that demonstrate at present a collection and crosslinking of open fields of actions and that is connected with an aesthetics of maschines.
Out of the observations of empirical indications - less representative visualizations than operative interventions into the protocols of social processes - and the analysis of their principles of organisation I explore a changed definition of art that defines productions of art rather by (reflexive) verbs than fixed and frozen nouns and which may extract a basis operation of shifting as well: an idea, that is based on a systemic, complex, spatiotemporal and operative reflexion and perception of art and a connective configuration of dispositives distributed in space-time. This operation actuates fixed compressions, disturbs established figures with shock effects, generates unpredictions and performs variations. The function of trans-/formation of art - I analyse the art practises WochenKlausur, AVL-Ville and etoy - corresponds with the so-called 'Erschließungsdiskurs' of art (Krieger), that has in difference to the discourse of science and religion to break the rules of communication, their frames and contextes.
The pregnant question of Ars Electronica 2001 "Who's doing the art of tomorrow?" is to be enlarged with the principles of organization, impact factors and operations of art: 'How will it be done?' as well as 'What is doing the art of tomorrow?'.
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