Typical expressionist qualities of highly subjective, personal, spontaneous self-expression can be seen in the network culture; especially, considering with instant sharing on social media. Its goals impose the individuals’ own sensibility to the world’s representation, rather than reproduce the impression suggested by the dominant media institutions or media patrons. Although the new media environment is challenged by the big companies which make the technology possible, its construction is incontrovertibly liberated in comparison by the older media environment.
Traditionally, in art practice, the artists made a unique piece within a particular medium. There is no difference between the interface and the work that has done. In contemporary age, with the new media, there are new ways of collaborating while practising art. For instance, as a software, Pan.do/ra needs social context and an editor who enter the keywords to make the categorisation.
“Software” is the code which runs on the hardware. If the hardware is a painter, then the software is the painting itself.
Avant Garde as Software (Manovich, 1999) – The thesis of the Lev Manovich asserts that the new ways of avant garde’s seeing and representing the world transmutes by the new media avant grade into new ways of accessing and manipulating information.
Pan.do/RA can depict as a wonderful avant-garde modern art by the same way that Lev Manovich mentioned about the greatest avant-garde film is our times is a software such as Final Cut Pro or After Effects in his writing “New Media from Borges to HTML”
Futurism – Goal of the Futurism is discarding the art of the past and celebrating change, originality, and innovation in technologic society as a result of art and politics. In literature, As it were Futurists create a new language free of syntax punctuation, and metrics that allowed for free expression by freeing the word and taking it as a main unit of the concern. Parole in liberta
“…that the past is not given, but must instead continually be re-constructed and re-presented” (Asrid Erll, 2008)
Memory is so much about the media, which express and disseminate contents of remembering. In our age of rapid changes, there are many ways to represent the memories. Archives, with and without a narrator, are tools for collective memories. We are recording visible and even non-visible data with the enabling technologies. The new technologies make the storage easily accessible and keep the cleanest archives because of its capacity of organisation and calculation make the fastest developments.
Even if Ernst insists on the epistemological nature of the media archaeologist as a reverse engineer (also literally, as elaborated later), his context for the ideas stems from a certain ontological understanding concerning technical media culture. In short, it is the calculation- and number logic–based ontology of technical (and especially computational) media through which cultural memory is articulated. This provides an alternative to the literary based narrativization that historians provide in their epistemological and ontological premises. Ernst’s position is aware of the materialist media grounding of contemporary archives that engage not only with images and sounds but nowadays increasingly with software-based cultural memory. The issue of digital memory is then less a matter of representation than of how to think through the algorithmic calculation– based ontology of a memory.
Kittler’s claim: technical media record not only meanings but also noise and the physicality of the world outside our human intentions or signifying structures.