art after the net interactions is no more what it was before the use of the net.
none of the artistic structures - from the net-based art to all the historic art forms - remain the same after the appropriation of the net structure as a new artistic principle.
after the use of the nets, instead of remaining within the 20th century art program of investigation and planning of industrial and urban design, art now investigates, plans or destabilizes the soft technology of the mega- or micro-power, i.e., organizations, councils and corporations.
neither stable-predetermined structure of values, nor self-based contemplation [the artistic derivative of stable values], nor comments on art. art comments on the [open-source] contexts of values.
doing art is commenting on art's context of validity.
a poetic principle is the initial and substantive impulse for making a statement.
the poetic principle is not an artistic principle.
poetic acts represent the need to trade in the objects for open-source interrelated signs.
poetic events can no more be perceived as illogical events.
poetic events are founded on interpersonal relations and aim at new interactive perceptions.
a person (artist and/or viewer) is one of the carriers of a new vision.
there is no art, be it even dead art, without living interrelated persons.
there is no pure art idea without the dirtiness of living persons.
expressing new perceptions via the personal plexus of actions and reactions is one of the new carriers of art.
expressing new perceptions with the aim of having them reproduced by the personal plexus is one of the new carriers of art.
persons are present through linguistic actions (in real or remote mode).
[the presence of] the expression of persons, perceived as embodied structures and personal intentions, are a new poetic principle.
any presence of the human use of media commends a poetic principle.
linguistic actions manifest a telos - the accordance or discordance between persons.
or, the telos of the communication in a present-day language is the accordance or discordance between persons.
expressed personal relations are new artistic principles
the perceived form of an accidental relation in art is defined by the context of this relation.
every fortuitous historic event has a telos, which is represented by the form of its context.
interpersonal elements such as a city, or a network, an agreement or an open source software, the NATO coalition or a satellite view, can be viewed as new artistic principles.
taking part in or drafting up an agreement is not an artistic action, because working within it means to accept the structure of the agreement without investigating its form. for example, taking part in an artistic structure such as a museum or an artistic event is not an artistic action per se.
personal relations are artistic principles when they are presented by investigating the values of their artistic form.
art comments on the whole range of actions that are taking place, and these actions define the art context.
art after the net is founded on the contextual expressed interactions of at least 2 people - the artist and the viewer.
the difference with respect to all the art of the past is that the art of the past seemed to be founded on the subjective self-expression only.
neither the artist nor the viewer now play the limited roles they played in the past.
art is now opening under the new conditions of the net, which are no more the self & mono-optical conditions of all the representative media before the net.
the artist as well the spectator are represented under the modalities of their interactive communication.
where: the "person to person" action is the poetic principle, and the use of the media represents the artistic principle.
net art has little to do with what art presents in our contemporary conditions after the use of the net.
after the nets, all the past art events can be viewed as the interactive relation between at least 2 people [the artist and the viewer].
artist and viewer embody the new roles of their mutual net exchanges.
interaction is not simply expressed by a form button, but by the instability of the "open source" dialogue.
the forms that art presents manifest a whole range of open interactive actions.
interactions in real or remote net ramifications commend new artistic principles.
accordance or discordance between persons commend new artistic principles.
under conditions of net interaction, the roles of the artist and of the viewer are both live materials of the works. (this art condition, known for the past 40 years, has now become part of the mediated form).
the artistic elements which throughout modern history have been perceived as merely fortuitous elements, after the net have nothing to do with art any more.
unlike the artistic elements, the fortuitous interpersonal relations, as expressed by the use of the media, commend structures of art.
the context of accidental historic interpersonal relations commend artistic structures [under the investigation of the values of their form].
instead of the mono-optical and egoistic limited view of visions of the past before the net [characterized by expressions with no external references], art is now structured by its live referential contexts.
after the appropriation of the media, art actions represent the modalities of communication.
the new art fathoms the telos of communication relations.
interpersonal relations cannot be pre-configured because pre-configuration impoverishes relations.
under the art conditions, the fortuity of interactions commends structures.
there is no context form that does not contain relations with expressed telos.
there is no relation without an expressed telos as its context.
building or working within a structure, in art terms, means investigating this structure as the representation of its open source interactions.
after introducing the true interactions in the work's desktop, any structure is no more a field for logocentric or merely systemic practices. artistic as well as public or commercial organizations are now fields of art critique practices.
logocentric perception always distorts the communication structure in a text-based control system, because by default there is no logos [narration or software] that can contain the dynamic of the poetic principle of interpersonal relations.
the poetic principle of interactions enlightens the structure of its countercurrent: the utopia and distortion of the narration-container.
instead of sticking to the 20th century art program of investigation and planning of industrial, urban and net design, art now investigates and destabilizes the technology of power, i.e., organizations, councils, corporations.
art [in its artistic net extension] represents "the intermediation on the media's uses."
art comments on the [open-source] contexts of values.
doing art is commenting on art's context of validity.