Somebody in Australia was searching for the answer to the following question:
"How does the media drenched world we live in impact on hyper-reality?"
Firstly, hyper-reality, or hyper-realism began as an artform in which the creative impulse was to mimic exactly some object in a work of art. The closer it is to being indiscernible from that object, the greater the achievement of the artist. While such art does not reject art itself, it does reject:
#1. Artifice
#2. The Artist
Here, the artist's insight into the nature or meaning of the object are considered bunk, bullshit, at best, something added atop a purity, in a sense contaminating it.
The term "hyper" means over, above, super, it's associations are numerous. Again, hyper-media, hyper-realism.
Forget that for a second. We live in an age where we are inundated with information, and perspectives of all sorts are seemingly always at war with each other. We read books on health and we read five years later some new book which refutes the old book and we've been taking this advice for the last five years and now our heart is in danger.
We want there to be as little perspective, as little authorial intrusion, as little evidence that it was made by a person as humanly possible.
We come to mistrust perspective because it's a dime a dozen and constantly in a state of refuting itself. You don't know what to believe, and most of us are ill qualified to determine the qaulity of the arguments we hear on TV and the newspapers.
Thus the popularity of reality TV.
I hope this answers your question.
Computer poetry is warfare carried out by other means, a warfare against conventionality and language that has become automatized. Strange as it seems, our finite state automata have become the poet’s allies in this struggle, the long historical battle by which mankind pries into the surface of language to reveal its latent mysteries… R.W. Bailey, Computer Poems (1973)
Tuesday, November 9, 2010
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