All technology must move toward the way things were before humanity
began changing them: identification with nature in the manner of
operation, complete mystery.
Art, once so elegant, has been transformed by representation into an
object, cluttered and confused not only by operating systems and
applications, its once-accepted inherited discourse, but by the words
and the theories used to prescribe its very being. These prescriptions
are themselves shrouded in a language that, disconnected from the
world as it is, is no longer useful. To recapture that connection, it
is necessary to find and use a tool that will leave no traces, that,
in other words, will allow an unmediated relationship with the thing
in itself.
The problem is more serious: we must dispense with computers
altogether and get used to working with tools. It can be put this way
too: find ways of using computers as though they were tools, ie, so
that they leave no traces. That's precisely what our computers, video
cameras, amplifiers, web-servers, projectors, cameras, mobile phones,
etc., and even the internet, are: things to be used which don't
necessarily determine the nature of what is done.
On 23 November 2012 10:55, Simon Biggs <[log in to unmask]> wrote:
> There's an interesting and subtle issue here.
>
> Martin has distinguished between a programme and the computer it can run on. However, where is the computer in this?
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