Ars Electronica 1990
Festival-Program 1990
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Festival 1979-2007


Everything wants something, even if it wants nothing

'Zelko Wiener Zelko Wiener

Every communication between humans necessitates a common agreement that new information as such is to be considered positive, and that the thus growing personal total knowledge is a valuable virtue, well worth being aimed at, after all, you learn for life and: Knowledge is power.

But like any human virtue, also the idealized exchange of information does have its share of corners and angles and hooks, just as terms like "free expression of opinion", "mass media" and, "target group".

Who has to say what to whom, seems to be predetermined; the essence of messages, after all, is also to be transported from one person to another -regardless how senseless and incomprehensive the messages may look on first view.

Which contents may be – sensitively transported by which media, depends on the literary shape in which this information is coded; the vocabulary for decoding serves as package and invites to consume.

By turning over their original function, all three parameters of information, namely content, medium, and shape, they may leave the human spirit in the same way they entered it: in by one ear and out by the other.

The absolute non-input achieves the same neuronal performance above average as its exact contrary: an internalization of information without any resistance.

Both states are extreme, and rare enough, and, in general one does append more or less voluntarily any notion at hand to one's consciousness, be they reductions, or – in the best of cases – just distortions of the original information.

Thus, again and again, fragmentary messages are added to the already crowded spiritual inventory. However this knowledge may be shaped, it presents itself as a recursive and labile potential, always ready to undergo a radical reconfiguration. The continuous spiritual mixing and processing of data does not take into account their temporal sequence; nothing is so susceptible to a vertical restructuring by new informations as a system of knowledge that is seemingly well set, tested and tried.

The special quality and simultaneously the most apparent weakness of human storage of knowledge is exactly in this recursive ordnance power. And it is upon the exploitation of this fact that the great game of society is based: Ever since the beginning of time, there was just a choice of two sides on the coin: to want to believe, or to have to believe. Pick yours.

Unruly or unbelieving persons did not even touch at all, their role remained the same forever – to be the ethic-statistic variable. If everything goes well, somebody will have to go to hell in order to legitimize the heavy task of one's own being convinced.

This doubly and three-times secured, superior goal of messages – and here the archaic adversaries Art/Science and Religion/Politics have similar intentions – is an immediate spiritual change of the receiver in the sender's sense.

In order to achieve this ideal of information transmission, the existing national the world must drastically be destroyed for a short while, in order to rebuild it again and always higher on the round pedestal of morals. The corresponding architecture is as different and as old as the dynamic relation of Society / Intention / Medium – the alphabet alone remains the same, even as hexadecimal code.

And although knowledge about communication – from a subliminal to open manipulation – is widespread today, the chances of the individual to escape even the tiniest intervention from outside are minimal.

The more information is offered, shaped-up from modularly organized updates, the more a pre-selection becomes a necessity. The criteria for such are delivered by the spiritual sub-level of personal expectations and the desired compliance with demands. Which leads you back to the beginning, to a voluntary or involuntary belief in a matter that either confirms itself or is confirmed from outside.

It is here that "Mind Cinema" sets in as an experiment, for interpretatively it is all about less than nothing, but holistically it is about all, about the Whole.
The spectator does not see images nor does he or she hear sounds that could be compared to the traditional methods of videos or movies, even if these physically or conceptually reflect themselves.

"The inner cinema” only delivers minimal optic-acoustical basic information. The psycho-active pulse does not convey contents nor a distinct aesthetics, but is designed exclusively to trigger the individual's own, subjective imagination.

The spiritual autonomy of the observer is not faced with a pre-shaped world. The individual pattern is determined and interpreted by itself-or at least gets a small chance to do so.