tti•t.i:~ris:i
f:Ui::it~~W:T9 .A.r..itil!l9<:1/aO)lJ1/al::il:L •t~ili!ri~f.J~rai~tt~l::sL!§!•O)t.i::L,m-wt::?L ,z:at.i::t~1uJHt-r 9;:tt,,·z~9~•6t~11>r:.

T:~t~ o;:O)i,i~;1j'Tli'it:lEl,f~~~0)3ij;fJ''f.U~tt.

A!IJ!O)~iffiiT·A' JL-;:r.-tt:,,i~l l-lll~l::L,t~ t!!-ff O)fliJ.J!.I13ffil,f~ O)fJ

,z:l;I.,c·;:1::!§!•fJ' .• 90)t,) tL ,5;:t1

0 B "M"O)~ii!;t::sL
tf.~;;_r/J>

1::J:-:iT:. i!!i

T:t!!-ffllljt/1)9 ( l!!.l!) t

IJ. i..,,t:., · J\7-( A 11· 7'JL,"Jl,7-(l;l.~iffiill,1••~ r:~Jlil,t.i::L ,11a.1.t~t,O)tt~1::ii<ililil,n '90)"[-. -tO)::fi'.f) tL '?1 ✓ 11-7 I,( Al;I., ::j'-IJJO)-J/a:IJ>ij~Jjf.Jlj:
f/Jil,f~o;:O) ( J!!.!!

1~11-r 90)t;t.ffBt.i::;:tz1;1.t.i::L, 0 *~'(>~.A.t!§!-:it~~n!§!Jl'(>~rilll~~99;:tz'(>JfU!O)ai!• '(>!Ii 160) 7")1,. 1'ig51:: & IH'. ffi IWl
a 1;1.
~~HiEBJl.A,ql::i,i~O)~fflhl~~-~1::t.i::-:ir:Jl.~t.i:

I/J~fJ"A9t,O)'(>~ff9
L1 llll~'(>tlf1JJi:f.i:91i,

9t,O) , -fl, T:!!~O)~W;O)ffllff-"t~L1 '(>-:iT:~t~o~fi'~O)A9=i~:n:~?:!,L11JlfO)ftilU'L~t.i::t.~ffllJO)ffll!EI.
~ffisl::fiJl~O)J:l:fUU,l.
f!fl.J!.~O)ffiaiJ:.
- ~zt.&~60)ii~tmO)t!!-9t=~:n:O):i¥oo~il:!~~9~~~n '9 o!§!WliA1JtA619>9t;:~1::;t.ltt.
1) t::flbt~~( l!!.l!
.O)iiioot..
o ~iiiO)A? J-:.,t,7L,l::;lEl,~ltn,9t,O)~ii!i1::sL, r:::k!t.i::,1Hf tt Hit~ 6;: 5 t,t~ !§!•fJ'l.l!.1-\'.0)f.t.t~
1 l~:W:T 9tL 1 5ftllfJ'.!§!Jlt::J:-:i~1!0)-;:'-rA7'l..-1..tt::J.Jl.tl.9iffiioot.1'71'~61::1;1.::i:.,1::'.1
lfi6f!lt.
l,f~;:ttiraiilL 'f.i:L'O)fd1". foJ:1J·rni:lEf.JI:: ~:n-:i r: t,t-:it~t-rtt.tf.

r:
J:5t.i::!ll'.11J1::sL,!§!WO)tO):.,i,:-7J tlliJltfn n '9 o 7';;11JL-fl:~tt.t~11m::t-:ir:( I! ) O):tJ•t~s·IU-:it~<t.i::L'of.i:O)tf.~?fJ'o -ttl.1;1.S-f6(. i/!i~O)tf:Ble.'(>ilL •~Plft'O)tf:Ble.1::

IL,t~1:.,11-7:r:1Ali:.$;*~~t.i::t,O)"[-ttl, l , QL 1lb\!ll);:/l)lj:L IJ;-jlj:aiJ:~1~~9;:tlj:0)"['1;1.f.i:L \fJ> ?

. ffil,L 17? /CJ:)~~O) l!ffl!§!Wt::iUllffl!llslfi.t~O)tlliJ#fil::..,,;1.~:W:IT('t::ttit,~-ttn 1( ;:tt;t.Z-t,, ·t,t~6T11fit;::ftl,r: .A.r

0t•J. •1::foJzA9fJ 1 lf~if"f1
0)
9!5l'.!IJJ:•Jt.. (fJ1 ?T: - A-:it~) foJ:fJ~Jlf..HU/ft.tl, T:O)!ll'.IWJ:•Jffi:~tf.t:llt~6tl.9o !§!•O)li~J..:.llliJ.

~t.i:L1o ;:-jl,f~ 1990Sf.J..:.{lliJflUlf.Jl::tt~l::ili!'l, n l97 ':)1! JL,tt. i§~

A9fJ 1 61f ~flt; 91::
al iii,1u::!§!-:iT:L' 9 t!:I* $1;1.#JJlf.J t.i::!All!-Z

ffit::::t~6tt.t~=.1-)(7-(7'~/l)(.fE9-~f.i:O)ff.. tL 1-jBJlfiltt1::arrt.~tt.t~1lfifJ

t::J;-:>"((o] !~-:> n 19 00))(7-(J'l::J:-:i T:'i!!i11f-tlt6tt.t~~l/ilJ"-JU::it;kl,f~o·'-:iT:t.. ,.t.t~61;1.~(0)~~. !§!•
19t!!"RJ;tl!lt::~~t~~Ft'(>'.ill'.$0)flUlf.Jt.i::ttffi~liiH::t-:ir:1t,O) tf.-:it~t-S ~Uf.~? o( r:1;1.f.i:6f.i:L
fJ'-~1'L,t~ BJlliJ:111;1.f.i:l,fJ1 l,. !§!-~fll59tL'? ;:tfJ". 1 9 t!!-R!/;I~O) .A.1::-t/,,f.i:I::'(>"f'(>"ft~~Att.6tt.~:b~Z~f.i:#-:i~o!§!.Wt~lb<ttal~~90) fJ"II l,fJ -:it~l:i , t.-:itt.lil/,,1::tll~

l!ffltf.-:i t~o l,fJ•l,.
~ tit~ 0) 1;1.

1

. .1:•J~t,<. ilq~<O).A.qfJ"ai!Dtt, T:O)ffl~H,\-fi!t,t~O)-r,1;1.t.i::<l,( Jl.-tt9f~ll>O)tJ:iEl11!§"t;:tt,' ·~t,•-:it~;:t1;1.J:<~6tt. n 19 0 A-fO);l:tJ!l.9l;::!;1.jij~)j:fJ>-:if~O)"['A90 ;:;:

IJO)ttO)~~O)~~l;I.,, A9ffil,L l)(7 '-(7'0)5i!~t-ttt.l~lt
1::1;1.

.
o-ttt.t;t.t,t;t.'(>ffliJliZl;t.t.i::(, l..--9' .-fJ,./laid~-tt9
1o l,f~fJ"-:iT:. -ttt.

llila\¥t::g~11Jqt~fl:"f9tf:l*ll!if.i::O)t'A9
fJ";f;:!/it:~~ntt~llila\¥1::. !§!•1;1.~6fJ'-~lil:Af.i:L •ili!lilii!l'(>~~0)-1 ..,c-;;1
B}lqSq tl.Jl.jj/J~-ttt~o ~fj'~O);lj9J!tl,

o 1,,-9 ·-1;1.E*.Jt"f9fta0)
t!!-W;k!i&lj:tt::t;t.~J!lltl::ifffliiJmtl::t.i::-:it~
fil:il:l 1J7' JL-111i..t::~6-ttM!UIZA9Jtll)9~W;tO)rai1::..ti'\t fl-l}t~J!lltO)ftatlllil~l::Jl.J:l:"9;:t1;1.nu

IJO)J;-jij:Xl,,~ Jl.l ttl.9 0
T:'(>)ti/:O)lj:IO)lli!iltttl,-ttt.61;1.il( 1::fill!' /,9J; ?f.i:ft"Cl,;/)>~9;:tfJ"t!:I *t.i:fJ•-:it~l:i 1::1;1.,
aza-:it~O)fJ ". ~fl0)1iilfflHBUdllllllltZ~l::11l!9J:-jl::l,

r:~•

ll=i~

1930Sf.f-\'.t::~7IW~OOl;t.l..--9' ·-0)1Hllttffill'Jll~l,.

'9 t!:!*•tf.tL,if.J~~1::.1:-:ir:arrs~n1-:,;:tti . -f tl. ~~t,, ·;f,-ttf.i::L·,10)"{', . 1.J!.7.fO)f.t.
n 19t:llf ~t.i::1ttt.1ft.i::6t.i::L

t~6fJ"ijB O)J:51::l!Jit::"t9::i:.,1::'.1-1!fJ"~ht!:IT11fit..;:-jl,f~!A..,c-:)ZA9 o
fi\!it.i:~1
A~f.JZt.-:it~i!rt.i::91ll*lf

19.l:? o '7:r:•i:i-5?-lf-lif-:in

Z,~9J:-jl::t.i::-:it~o a\:1::!/;lt~•Jjj//0);:ttf.fJ". t!!"ffl;l.~~fJ","¥7.f l,f.i:(t::T ( 't. A 1J tA619> 93fflO)'flfi-" O)J'?tz A fJ"iiJfilt~ J:5t.i:ff :W:

r:t,1"¥7.f"f90)ff.. tL ')$.\:~iUif.Jt.i::~llltL, T:~9;:t1::t.i::9 o~rill'(>
t.-:itt.i!iL 1t;:~1::a•Jt.i::fJ"6::fiiJ*.!lZA-:it~ ~60)~~t.

n~•<~~f.J~il<~A-:i~~ll>~~~~lffl-:iT:~~Jl:11)9;:tWftl,#'llfil~fl"f1

t;il!l:i¥1::;1t;•J~5.1:51::t, r:~r:. -ttt.fT ·O)'it':lE'.l,t~~W:O)ttlJl;t.::k~<. ~tlf , 11mz~9P-Jfft.i::O)fJ•1.1rR,fJ"~l59?:r:1 ·-tt-<H:
lfi"690)ff.fJ"
tf.~ 5 0 Jt;t;:'(>1tt.J O)&tt1,J,11N1::l,n1t~ O)fW.A.fJ"ttWt:
o -f-jl,f~t!.

a\:1
n 9:1J1• ffi11111::r1c~n9;:tfJ"tf:1*9J:51::t.i::-:itd~ll>ZA9-:it~tta<b. = ?O)~t,lfJ' ·-iu::llil

l!lltt::::k!t.i::Jt#Jtffl-:in '9~ttza9tfJ

T:l,f5ftMl::J:-:i
W:~tt.

6tfJ 1 • ~f.J~~lflfflO)a-:51tt::"t9~~fJ,-~t;9f:.~?

f!ll6L1ff.O)t'A9 o

1ol,t,•l,~t:::llt~tl.lf. -t;:1::1an~1::A9JlilO)J:-jf.i::1lfiO)raill!iil,f.i:fJ'6fl{;9t;::JE9'flfi.:.$;!/;ll::~~1;::£.~f.i::t.O)l~~Z!f!!Jlil,n'<iiJfilt

43

,t1!f.l'P)'lm"t'~fJ. 1' • /J"vQ)~

ttt::k!<lllltJ•:tt. n '9 ,rThe Language of New Medial l~L-t.:v7· v l?-<·;,'f-11. -~tFl::,t1&/ ii'lfilll:'"(I P)'~I:: ~it 9 :::i:'./1::.i-11Q)ff
Q)A.1::JHJiQ)lfiiJ

t.l ( =.::..i -.><7"-<7")f.l'Jatt!Q)tl ~l::k!

< ~;t -r l..ll:? 1Jlt,¥-::>l.l

1,t-1>'J-.7. J l::L'?~~l*lfn'9 , 1~'.lEQ)ffl.'1"'00!Bl::L-'t.

i:11:ff,iJI::,ffq f.i:1/;,:'./Ji,Q)JJ<JJ!

1:,f,iJQ)l:JlW~f.l'l::tl::fflHl::~:tt.
'tM.:.~f.l''"-9 · ;::tt.ll:n::ti;Jirs:'"(~
f.:J:-:,1::.;:-:,L,f.:1~fftl1-;'? / • 1/-Q)~~~il!Jil::J:?

'tll:?f.:(ffiL,(tf.:6-t!:6:l't.t.:t:>lt-rl1t.i:<. Stfi"t 9;<7-f'J"Q)ff :&1::J:? 't~tr.
~:tt.'tM.:l::"t:tt.lt. f Q)~fl::11i/H~Q)§ffiQ)f.i:f.l•l::t~W "t;:l::f.l'-r'~- ffi~l::Mt;iM'.>6:tt.t.:f;i'Jf.l'M!mtt.::tt.9;:1::11. Jatt!Q)~~Q)

f.:6'.)Q)l;::I7Jl,'f-lM~L,'(L,ll:?t.:-3? , ~;tt.i:L 'llB~IBJli:,;IJ•l::L,-?l:!:t.i:iUIJ:t;ml::L-t.:~iJ1,-1'1::-::>L''tfm!Ji/&9;:l::t?f.i:f.l''ttc'tL,ll:-:,;:I::'"(·,~'.lEQ)J'.t~'l"'*llC-r11t.i:<. J:tJ rJ(Q)A.f.l''t?l::J:L '·-3? , 7Ji,?ij-.7.11. E16Q)f'Fil!,'\"'tO,t-v:'./.7.'1"'1":'./H::t:.L''t.

ttw

t?l::ffi)l1Jt.i:t:11m1::~-ti?t.:•;71-7I7"1111l,tL- n '< . ~•t.

!9111'.'"( ·~9 , f:l't.11. 1J!J;tl;f7Ji,7-tj-.7,/::L'? 1960~1tt::.::..i-3~tL- -rJ"19f'Fil!,n1t.i:< fi :hiQ)t.:~Q)::i :'./-u1'1-11::-rtm:fflL,t.: .

'ffi::kf.i:~Q)1 .....::'./1-'l"'f'F&i.
li'.li~~IIMIB&Q)f.i:L

H~iiil::L, -rlii (;:l::f.l""t'!t.i:L '-iti!'Q) A.l::t~JJ! - 1&# Q)~~llj.

ll:tdlti:,f.l"fi?f.:-At.:, f-:,L, 't'IHl~:tt.t.:ffli::kf.i:~Q)1'.><-1/fJ'f;:tJ•L,;:1::'"9 · f:tt.

t.i:tl1. fl?!.il::7"Ji,77'.....:•;,Himl::~rs:t.:~JfL '7"-11.....:-.7. r FLUXUS

9J:tJt.
i:,H ''5L ''511~~'\"'JH~~lil!ll~fflL,f.i:f.l''=>ltl'."t11;:Q){ ;<-1/Q)7"-1J1'•'}H,b.t.:'5'fl'l::~-:,tJ•l::L '?11?"-IVH ..•l~U.>'t

CODEX
J 1::JlllU~:tt.n '9 , q:,,C,,~fl!:!IJH!bt.:1/3-1/'\"'ffiiJf'Fll:'"(·. V-l::tJ"t'foJU!:t;:t.i:"t11b!IL, n 'f.: ,L'9 ,-::>ll:fJ.i/H~Q);<j''-<7"1::Ji"t 9(':JU:>:tt.n '9~J(l::J:? 't. ,b.t.:'5
n '9 , ~J(Q)-f;<-1/11. ~}$1::~

11"t'"(l::fQ)f.:~o:ii/ll•t~~L,

Q)11. t~7,t-v:'./.AQ)fl "t'&•*miff!~

t.i:~JL ffi'rl::-:,t.i:t.::tt.'t ~9*111.i:Q)f.l•,fQ);!i'.flilf.i:Q)fJ•.tL,(IH,!;fJJQ)-atJ•,IU.:ll:t.:nL-L'mq)~~tf;:~~W°tQ)~
Af.i:f.l'6.M~I~?

. $!lBll:-r~~•<q)•~w~9~~lj.

.7.111':'./.7.l-"5?~3:'./f.l'f'F6:tt.. f :tt.l:l,tJfJ>?f.:;:l::f.:, t~7,t-v:'./. tt!!lil..n 'f.:t/f.:'5tJiigiJW"t. ~6:tt.-r

L't.:11·f'Q)"t:/f.:'5f.l";:'5€,l::iU'lli!&"t , El?!.il1,!l!.-Q)~l.11::J:?'t

Mll:"t'ffi~Q)~l.11::J:?'tt,l.&x~:l't.9,~

3ff.ti:'t6:tt.9;:l::11t.i:<.

9;:1::tm9;:tf.l'lit.i:iJ-t;?t.:~il~~~r6t.i:L't/Q)l1?f.l',b.t.:'5l~i/&L,

ift"t't7 Ji,,;:-:, L-t.:~~Q)f.i: f.l'f.l''=>. .::..i -;<-;''-<7"f.l'Mli.&xL-t.:A.r,:iQ)fU~t

n '9 , ffll::11. ~ 11:tt.t.:lllil~h~L'li:llf.l"=f~~1::~;t'((9t,;fit~9'ti!f~l::t.i:?f.:'?°t't.

'ttt!f':EL,n 'f.:t'F, )Ut.{1::L,?ij-.7,q)/~7,t-v:'./.7.lfi-:,;:l::tJ'"t'M.:~l::li-~Q)ilL

t<1::;Ul"trs:~>:i;

f.i:!Vllj.lJ;Jt~9?"- -7.tf

BJlQ)'f;,7~3:'./lt,jf.:f.i:L ,f!RiJ. ~11foJl~L, n '9Q);IJ•lj!iJf!.il::L,f.i: t.:f.l"?'t~1Jf§~:l't.9 , f:tt.ltl::1::"t:tt.lt.E;:-rtL
L' · -ttQ)~JlQ)f.i:tJ•l::2§!iJ;:t;ffq·v'f .i-1':;;(,~lUJJ.liiJ~tJ•€,v Ji,'r-<7Ji,Q)-,"-tf1'/-7.IH "':'./i-Q),t-t,;71'..,11ir.u1L-t.:. ,J..t.:'5f.l'm
n '9Q)f.:tJ•€,,

W!~-:,.~m '(?tJ•tlil!li°t'!9, ll:9'U. ~~~-~f.i:tQ)IJi:ffll..t.:;:I::, ~€,I::. t:I7Ji;'f-Q)f.i:L'· ~i:,fQ>9tJQ)l~faJil::~t;-;''-1l.....:-.A!~f.l•:tt.f.i:f.l'6llt.i:~ill!
"-Q)m;;f,iJ. ll:t.:. il~Q)J" 1 -;:.>-;:.-<-;:.-<1::;:;1

lilrail31/J"t9;:l::'1"'. ffllifiQ)ff*l::ffl:tt.~t;J:-:,t.i:!fi~tt:Q)$!'':;;5''-<.7.'klr.t'5-tit:>-ttn'f.:.~ tit~

fif1f~M~ffiq)JfU!f.l•6

1::fil"t9 ,-r11t.i:<. 1960~ftQ).::..i-3-?f.l'~lkL, n 'f.:.><-;''-<7"l::i.l~f.l'*fJi;lt"t;l!f!fU~f.l•67
f.l'lfll::tt.'tlf.:Q)l1.

Ji,?-tt -7.Q);UIJ

i/t6f.l'.'J 1-7".::.7". 1-·-1·;.,.
,t7:'./$!'·. B;!;; • ._00 .1

9 1J7"t.i:t ·tit!At.i:.!UUl.&xtJ•€,f.i:1J.
L'blt7" ;<_'JtJ
1::t:.L''t:±:ii'lf"t'~?f.:7,t Jl,v 1J .7.kQ)~i1f tJ•6Elm t.i:.ffilt:l~t.i: :u:t.1-rt1JfFl~ht.:...... i2tll::11. A.r..,Q)~l::'"9foJtJQ)tJ•'r·~iJ.

IIM'.11:lt.i\:tt.J:?I::"t 91::!l::A.Q)jj1Jl::~IJJ!"t J:-:,1::f.1:9f,iJt,Q)tJ•"t'~9. ;t;;W~t.i:tQ)l1. ,j)Q)~llM•6"t'l1f.i:('t.
1lQ)~$;1J•6m*"t9

I?

1J'f

.i-Ji,,

5~. :::J:'./l::.10,7 ),t•.-:J~-=,t-7 [I.=? ·7-I:,7~•/\ • •;,? • f-!UU, J (12JEB;lili]·\t#il:1!R. .tifJt..:aliJ.1999~. 781!{);:1::1::1.tml::Jt~'ttJ:L'f.:-3? ,.><-;''-<7"t£•f.l'1Jaitfl::~i!:9:::J

t:' -Q)ifflJi&11.( ,1 ) Q)l:Jlfft'lH, Bfi3ti'I"'

A.Iliff. ? • -:'./ttffit.i:t'l1. ~fQ)tQ)li:lffi~l:::::J:'./l- • -Ji,99, fQ)*~~- Dft-Q)t,Q)"t'~?f.:119''7)

tftf.l•L,n,9(,1 ) Ht3'eMlP)'lml::t.i:?n,<l\j~'"( ·f.i:L'El~lm?-rl..ll:?Ua.
. ;::tt.11. ;IJ•?'"(q)~~l1Jf§L,t.:(f.i:9J:?t.i:ffiMQ)~J(~~~V~W?kEl~l::f,iJlfi?UMl::m:f.i:ij.::..i-;(7-(J"Q)f~mlt:.t:ill:f.l•I::='i:'r1!~1::Jll!UU.
tlllltHViHtR"t'!9.~.

44-::>11a2"t I::. ~-~f.i:tQ)I~f!RQ)t.i:L'/xflf.l'·P)'~l::t.i:iJ. ffli;kl::t.i:?f.:i2
V-1::-::>Q)llJ:!t(v~-:'./)-rffi1Jf'F.
,t1&,.7.?11, /1' :;;(~-ti? , 1J;<7Q)L,;/ ;,;·, 7-< Ji,,l.,.,lia~ -;'-7 ''1"'~2'1;;7"-</j1fq)J:-:,f.i:~€,$9ffl~l!t:>~'tl$JWl::a2UL,n '< . f:tt.ll:"t'ffillil

1::~L ''1°"6:tt.n ,t.:tQ)'I"'. ~1::1\i~:tt. n 'f.:tQ). ~fl::L-~t:>:tt.n1

<t,O)~ c·~m6i -ri,:1:-;. t,tJ•t,. i-:tttnu -r tstJ•t.i.11~6~L,. ffit,·9 9J:?~-1 x-;JO)~JJ<l;:$f~itilf>. m~~~-:i-rt,ll:-3J:
I,, -r1t • tJ•

il"1f.:-:it=.~~~ ff,fl/Jit ~-It 9 :5e!lL'J< T-f 7' Ii f.l:.t=.t, t;:t :ttll:Z rnil:lE:?~lla1;:J:-:,"[;:'.:f.

fJf"[! 9 0)fJ•t,l,;ft~L ' •3l/JtL '?t?O-t?O)~fi~tiiJlmtt:tL '?llM~tt=.69-nZ.

L,,~i~9t,O)~\i

l/J![§)•J~tJf6, llfi;fttdf~HUil

fl:.t=.!>li

9;:t~<.

t=.€,l,f=.. tli~~i!ri~il"J~rai0)~~-~1;:g~9'i!!i11it~:ttt=.~:IU( l!i!!) O)~A.~"[~9;:t

ilbll:<t.:--S?.

1)9Jl;ll,O)L 'L ,t,1p]i1;:~-:in 'f=.t!I: . m~~l&•Jlllll,, ·n \90);:'< ff
lit=.t.:foJt~L ,~rai-r. t:tt1;:1;1.~~fJ'~L 'Cffi!l(.;€,;f'l.90)1;1.,
it,1:i'i't. i.;tJ,t,.m 0) a nut it>1:t=.t.:v-t•J11111JO)
i!O)ffl!l'.W:t.:--s-3
fort~'ilf><tf q ~t,O)fJ'i!Hi!ll:~:W;~:tt.
t . ;HiPQ~~Sn,O)~fJ•l;:-,;:~jjijl;:IJ
L'li9'.0)/llll!JfJ';lll!~l\L,J:.110)J:?l;:ffl!l(.;€,;f1.9;:'.:ttJ'IJ90

9*t~O)jjlJi.tO)FJfflllliH!¥1Jlffi::flm~11c°JIL 'lifflll~Ji ?ilf>9?
t,1;:, :f.f-tf:fftttl/J!U:>91/J!ljj~ it.!RO)iffJ'li(;ilf)l;I.Jl!i!i&IJ-j€,L'. ll:t=.. )iS~~~t;-.lilt~

f.J'ftql;:jt~~*tYt=.ffl;:~-:,"[]l!;:i-r<9'fJ'UO)fJ•l:ia-:i Z < 9 . ll:-:it=.<liithti19J:?~'EJL~itdi!ljjtJ•6.fffJ•~".i:t 1J.i -.£.~fsht=.fsiJf.J'tt,Zftt>llf.J'-:i -r <9 . ~/O)llffllJf.J'\90)li1J9-< x-:JO)J:-, ~t

f8i~1:t-:i -r . t ;:1;:ftt>llf.J'-:i-r!nO)t.:t°Ai90)f.J•t,l,;ft~L ' •. (;-:itllffllJl;:§~ifif6l, n'·;tuttil i, n ,<J:-3~3n.f.Jft,-r<M.:

7->t. ~f.Jf-rm~O)!t~O)iuu•~-; . u,i,.

. Jt:lt~. a:W:.M:W:;*l, -rm:W:il"l~tO)f.:lt-rli~<,( ;<-:Jtli.

t~~t; . L 'hli~ffl!l:ltil"J~llMZll9

m1111:1;1.~:11umit>~-tt9mu•~L ,. f O)ftit~O)~' 9J:?l;:t,-r.-< x-;J~~$JZ?fJ•ht9tJ•O)J:?~llMZI>
f.J•Zll:~<
9 . tO)filfllfJ'ftq1;:eJlff1;:~-:in. sm9 9'<J:-,~Sn.f.J'990)1;1.

liJl!'~:1:-ttn '< tJ•6t.:.
f8i/ f8i~0)11-,f.J•m:W:~ffil;fi1;:Mft.r;c.~-tt-r
Zl,ll:L ' • tfjltO)ffi~f.J'"fj"[~L'-1J<-;JfJ' .A.raiO)m:lf.:~;fJil,'9J:?l;:t, ZfoJfJ•~?f.J't$tliiJl;l., it.f.J'
i!ifi~O)B,Htl: . ;:'.:O)ll:~<
9 9J:-,~~O)?

I :i-tt-<i-O)r.ll~fi!*99t!~.

::fBJlO)ffiA\\~~ft~;il;f1.9J:?l;:mtJ9t!I;:
lt??ili;,9'i!!i1IZ.IJ9 . fO)t!

·
rnt~11-11-,1.-f.J•.9-rt;:$f1;:-:,, fl:.t=.!>f.J'. ff~Hf~~-t!:6..J1.--·:lfJ':lE:A%:tt:tt~~/~t,~.A~0)-1'fil"J~~-O)J!i!!~~6m~~~!tt~:ttTL'9 .

~XO)lfi!~ 1;:~~~9 9ffil,L 'J<7''-f7'0)!ft.lli . Arai0)~-9

J ~4U=. . l,tJ•L,. t:ttli1!tff.O)~~lil'.i
1!tff.l;: r::r-'li:li ;Rl, -r~L ' · ffil,L '~il::H¥ri!9{>;:tt,~:.:~L

9

Tl,ll:-3tO)Z

9;:'.:tt. fJ>?"[ O)'li;:lE'.~MB~9't.:~? . )('j-'-f7' tfJ:.t=.t,O)~~W;tO)ra,l:tl f=.t)9 ;;(I,,li.1!!W.O)~~~ifiiil"Jl:t6iMltJ•~llM~iiJtmt;:t,-r<:tt9

. 99

45

The Spaces of Distraction
Sumitomo Fumihiko ·TheView from a Shifting Window

perceive their own bodies as things that are almost invisible eventhough they are closer to them than anything else and perceiving

Is it possible today to imagine a world without photography?

objects that were difficult to accept as real because they were far

Photography has infiltrated our society so thoroughly that we doaway in space or time, bringing these perceptions together

not think consciously about all the places where photographs exist

simultaneously on the same plane. These experiences werein everyday life, and it is not easy to imagine their absence.

highly disturbing to the previous order of stable perceptions.

Photographs proliferate anywhere and everywhere: in newspaper

The stable order of consciousness in Western society was

and magazine articles, labels on cans, evidence for crime scenes,

maintained by perspective space, in which the human observercomparative materials for the study of art history, and data forstands at the vanishing point. Renaissance painting attempted toscientific research, not to mention vacation photographs

reproduce the world based on this method of cognition, and Leoncontaining family and friends or the images on ide'ntification cards.

Battista Alberti called painting a "window" for viewing the world.

Photographs have undoubtedly brought great convenience to

The interface of this "window" provides people with a frame ofourcontemporary lives. If the experience of perceiving somethingcognition, forming a rational space seen from a single fixed point

haschanged decisively through photography, which function ofand banishing things to the periphery of perception that cannot be

photography is most responsible? It is probably the use of

seen clearly because they are in the shadows, folded or

photography to provide undoubted proof of events that happened

overlapping, moving, changing, or existing outside the window.

in the past or in faraway places. It appears that the role ofThis method of transforming a three-dimensional world with depth

providing physical evidence that something once existed is more

into a two-dimensional plane still defines our mode of cognition ..

important than that of showing what something is. Since the birth

The movie screen and the television screen still have a formof photography, there has been a surge of information that is

resembling a window, and one form of data on the computer screen

assumedto be proved because events appearing on photographic

is also called a "window." There is no fundamental reason why anpaperare facts that should be believed because they are traces ofinterface in the form of a window should be used for digitali _zedphysical matter. The evidence offered by photography, a result of

information.

the incredible development of scientific and military technology
sincethe nineteenth century, has become indispensable.
In spite of this, it seems that the people of the nineteenth

Just as people in the past felt there was something odd about
their own portrait, people now have difficulty adapting their
sensibility to the information created by the new technology. In

century did not accept this belief in photography easily. At a time

many cases, we use behavior learned through contact with thewhen it was difficult for photography to capture objects in motion,

media of the past to deal w_ith the new digital media that have been

the most common photographic subject was the portrait. There

inundating our society since 1990.

weremany people did not want to .use photog'raphy as a straightrecordingdevice, and it was common practice to retouch theimagesto make them more attractive or imposing. People could

Seeing the Invisible

notbear to look at their own bodies just as they were. There was agaphere between the advent of a new medium and the response to

In the 1930s, Western nations developed the basic technology

it. Photography also provided clear images of faraway places andof radar, and it was first practically applied during the Second

thepast; places where it was impossible for people to go. In an age

World War. Radar is a deyice that gives knowledge of the position

whensuch things could only be known throu ·gh travelers' tales orof monitored objects in real time. Radar signals are not just traces

writtendescriptions, it became possible to see distant images withof events but actual events that move at the same time as the realadetail that was beyond the limitations of the imagination, as if

object and change from moment to moment. Radar cannot be

onecould hold them in one's hand. It became possible to know byused to observe and compare the flashing signal and the actual

directexperience, no matter how obvious, that the world exists

object simultaneously.

withoutyou. People were able to have two extreme experiences, tothat is actually occurring, so it is necessary to suppose that it is

It is impossible to show that it is an event4?

based on external factors. The information created by the

return our gaze. Nature _is not ordered through a single logic but

computer that we see on a daily basis today is a trace-less image

always structured with multiple logics. An epistemological spaceof this ·same kind.
Let us look at some specific and familiar examples. Whenin which seeing and knowing overlap is collapsing as unknown
things look back at us.

browsing the web, ·we immediately fall into the illusion of being
able to access any sort of information. However, the validity .of theinformation at some of the websites we find may be doubtful since

Hollowing Out of the "I"

all kinds of anonymous individuals with a minimum of capital andpower have an equal ability to transmit information. Therefore, we

What memory represents, instead, is something that isfeel a need to base our trust on external factors such as the size of

external to humans and in relation to which they indeed finda company's building or whether the information has also

themselves in a state of listening and reception. What is

appeared in a newspaper. From another perspective, the computer

essential does not issue from the inwardness of the soul,provides greater possibilities for individual judgment of what isbut from the outwardness of writing; of the book, of thetruly necessary for oneself and what i.nformation is trustworthy as.computer.

you sort through the reams of garbage .
According to Lev Manovic, in The Language af New Media, theMario Perniola, Enigmas: the Egyptian Moment in Society and Art,
Verso, 1995, translated by Christopher Woodall

computer, which has made it possible for ordinary people tocreate, report, and circulate their creative expressions, has a great

The new media has two main characteristics.

One is that

potential for disturbing the existing order of society because it isphysical things are turned into electronic signals, making unlimited

capable of becoming an open source. A source that is no longer

repetition possible and enabling people to search and select fromlimited to particular organizations, nations, or professions has thea huge memory store. The other is that it is possible to produce,

potential to break down the existing hierarchy of cognition. Byshow, and transmit information from one environment ( a machine),making the unseen things clear, software has been developed thatremoving the vertical boundaries between professionals andwith applications that are·more effective and more suited to theamateurs and the horizontal boundaries between different fields.

individual needs of larger numbers of people rather than particular

As I have already suggested, these characteristics were notcompanies or organizations. Photography provides ordinary

completely new products of step-by-step advancements_ inpeople, who are unable to .depict the world in painting, with atechnology. The foundations were laid by the diffusion of previous

means of representation. Huge sto.res of images produced in thismedia. The changes of today can also be found in the art of theway exist in many places. There is a growing interest in finding

past. One example that comes to mind is Fluxus, a group that wasways to use such image archives rather than checking the name ofbased iri New York in the 196Os. The works, performances, andthe photographer and the intention behind each photograph as

events carried out by Fluxus emphasized concepts and action

one observes them. We have already been trained for the newrather than art objects that were meant to be preserved. Also,

media through photography, although it is thought to be a medium

their m_yriad events, works, and exhibitions, seemingly .unrelated 'of the past. As long as the photographic images are not

at first glance, were all' recorded in alphabetical order in a thickaccompanied by explanations, what they show may not be obvious

database, the Fluxus Codex. The group was coordinated by George

beca1,Jsea single photograph has many different aspects. Is the

Maciunas, wtio performed many different roles, including

image a woman with a drooping posture sitting on a chair, a pieoeorganizing events, editing a variety of printed materials, andof clothing, a scene from a tragedy, or perhaps a strange wall

designing and producing multiples. It was noteworthy that thedecoration? While many highly qetailed bits of information are

Fluxus artists often sought the active participation .of the audience

being given to the viewer, they await interpretation. At times, aat performances. Lists of instructions were made forfamiliar, well-known landscape may appear uncanny to us. Silent

perfor-mances, and they were carried out according to thethings begin speaking. Things that we think we have been look at

instructions, so Fluxus performances could be carried out

48

anywhere, at anytime, by anyone. The previously clear distinction

possible to clearly perceive things crawling .about in the night. The

between maker and viewer became fuzzy.

surround .ing environment may be empty, but it is experienced as a

Several of these characteristics are relevant to the experiences

dense black _mass . Looking into the dense darkness, where it isof people that are being restructured by the new media. One is theimpossible to distinguish the relative position of the trees in theemphasis on non-material things. Another is the idea of aforeground and deeper undergrowth, one can hear the sounds of

database that lists many different activities as equal, non-animals and insects moving around. These sounds are hard tohierarchical items. Also of note was the tendency of Fluxus

discern at first but gradually becoming clearly audible. Smells are

membersto split into multipl .e identities and move between

also faintly emitted from the plants after the active process ofdifferent territories, as well as the ability of the anonymous

photosynthesis comes to an end. The total darkness imposes"dandy" to melt into the urban crowd.

itself as something with definite volume. The things that are

Fluxus emerged from the consumer society flourishing in the
NewYork of the 1960s; a product of the mass media and in\'.lustry.

perceived there by the observer can be described as images.
An_image need not be entirely visual.. It might be described as a

Its members represented ma·ny d1fferent nationalities, Lithuanian,synesthesic experience that .includes hearing, touch, and smell.

German,Dutch, Japanese, Korean, and Italian, and its creativity

Squinting hard at the darkness, one comes to feel that thewasexercised in a free and marginal position, .separated from theboundaries of one's body are dissolving. There is no object in theformalism that was the dominant trend in American art at that time.

darkness that focuses the attention. In this distracted state, one

Thecopies that proliferated with the accelerated growth of thehas the experience of groping toward images with the entire body.

mediaand industry threaten the boundaries of the self, the "I," andThe person having this experience eventually feels that outlines

organtransplants, artificial insemination, and cloning aim at direct

are becoming clearer as he/she adjusts and sharpens his/her

control of life itself. As a result of all this, the "I," once thought toperceptions of the environment.

beexclusive and unique, has become an interchangeable unit.
Theexperience of knowing a self which is not my self resembles

Images exceed human perception. In an age of proximity, when
the distance from objects cannot be maintained, we have alreadythe experience of facing the self in early photographs, which

acquired the habit of groping toward elusiv .e things. This is a mode

peoplefelt compelled to retouch. The camera lens, film, magnetic

of behavior that we enter into as we move through the plethora oftape, and memory disks record all information indiscriminately,

websites or absorb the overflow of music and images around us

including noise and garbage. They capture things that were

without knowing the names of the artists or the titles. In thesepreviously pushed out to the margins, things that were hidden insituations, things that were previously rooted and charged withthe shadows, and things that have. changed or been lost. There is

m:aning are casually tossed "out the window" of one-way cognition.

somedanger in the experience created by the new media, theThe appearance of the new media, which began with theperception of previously solid meanings as fluid andinvention of photogr _aphy, has brought "anxiety" to the worldinterchangeable, but it should be added that the media also offers

perceived by human beings. However, these media do not reallythe important characteristic of shifting movement. Instead ofchange the world at all. As we wait for further progress, it is notremain_ing ensconced at the vanishing point of perspective space,'necessary to re-summ.on the previous stability. The gap between

weare now able to move about, discovering hidden meanings andthe media and our perceptions makes possible the rich experiencecatching things that are about to disappear.

of grasping the appearance of the world in a multi-faceted way.
Through the experience of losing ourselves as we dive into thedizzying deluge of images, we may be able to throw our customary

Let'sGet Lost

perceptions "out the window."[translated by Stanley N. Anderson)

Whensitting in a breezy, open place, it is common to feel that
oneis surrounded by insuqstantial space containing nothing.
However,if one sits in the darkness on an island in the south, it is

Sumitomo Fumihiko(Curator, 21 st Century Museum of Contemporary Art, Kanazawa, Japan)

49