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Transmission Mysteries: Art and Technophilia

Transmission Mysteries: Art and Technophilia Transmission Mysteries Ar t and Technophilia Kenneth King he global Covid pandemic with its covert, rapidly spreading pathogenicity of mutating variants, along with the hegemonic epidemic of computer hack- Ting and the crisis of worldwide refugee diasporas, provoke urgent questions about a range of transmission enigmas. Long before history and technology, art ini- tiated the transmission circuit. Prehistoric caves housed vividly painted images of wild animals that continue to enthrall and mystify thirty-five centuries later. In radi- cal contrast, technophilia, the compulsively seductive allure of our hyperactive media, continues to become increasingly endemic. Powerful synaptic algorithms incessant- ly propagate synergetic labyrinths of instant information transferences whose inter- connectivity and obsessive fission sustain the world while threatening its survival. Ancient cave paintings, like those at Chauvet and Altmira, which feature colorful eidetic renderings of bison, aurochs, and reindeer made with pigments composed of dirt, red ochre, animal blood, and applied with twigs and bird bones, undoubt- edly served the magical purpose of subduing and controlling nature’s treacher- ous chthonic forces. Visual and oneiric, those paintings bridged dreams, imagi- nation, and futurity—anticipating time and history. The enigma of how they were produced—in deep, hidden, pitch-black recesses or on high inaccessible cavern http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Transmission Mysteries: Art and Technophilia

King, Kenneth
PAJ: A Journal of Performance and Art , Volume 44 (3): 13 – Sep 1, 2022
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Publisher
MIT Press
Copyright
© 2022 Kenneth King
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_a_00627
Publisher site
See Article on Publisher Site

Abstract

Transmission Mysteries Ar t and Technophilia Kenneth King he global Covid pandemic with its covert, rapidly spreading pathogenicity of mutating variants, along with the hegemonic epidemic of computer hack- Ting and the crisis of worldwide refugee diasporas, provoke urgent questions about a range of transmission enigmas. Long before history and technology, art ini- tiated the transmission circuit. Prehistoric caves housed vividly painted images of wild animals that continue to enthrall and mystify thirty-five centuries later. In radi- cal contrast, technophilia, the compulsively seductive allure of our hyperactive media, continues to become increasingly endemic. Powerful synaptic algorithms incessant- ly propagate synergetic labyrinths of instant information transferences whose inter- connectivity and obsessive fission sustain the world while threatening its survival. Ancient cave paintings, like those at Chauvet and Altmira, which feature colorful eidetic renderings of bison, aurochs, and reindeer made with pigments composed of dirt, red ochre, animal blood, and applied with twigs and bird bones, undoubt- edly served the magical purpose of subduing and controlling nature’s treacher- ous chthonic forces. Visual and oneiric, those paintings bridged dreams, imagi- nation, and futurity—anticipating time and history. The enigma of how they were produced—in deep, hidden, pitch-black recesses or on high inaccessible cavern

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: Sep 1, 2022

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