IRC-Galleria

As illustrated in the first chapter of this thesis, the concept of representation has historically stimulated discussion along with constant technological development, culminating in the age of the internet. Likewise suspected decades ago by Jean Baudrillard, it is evident that representation as a whole is continuously merging with the so-called real, and today, finally, even capable of becoming realer than the ‘real’ itself, a ‘true copy’, as Massumi wished in his 1987 essay. The internet as a social gestalt has brought the concept to the core of everyday lives of individuals living in capitalist societies; predominantly everyone is dependent on their representational selves on the internet, which has a direct effect towards the material originals. As stated, the internet is a significant and necessary channel for the society’s demand towards the practice of self-design: importantly, it is continuously “out there” for the incessant gaze, to be accessed by anyone, anytime. Capitalism does not sleep and neither do we as prominent parts of it, as representations -- or perhaps as the actual ‘reals’, the new originals.
Historically seen and sharply pointed out by Boris Groys, our relationships with images has changed due to technological development and it becomes evident when looking at internet culture and social media. Internet memes, used as forms of communication, perceivable as forms of mimesis, being simultaneously powerful examples of myths in contemporary world, which is increasingly giving up rationality, once hailed by Plato and later the Age of Enlightenment -- later famously criticized by figures such as Max Horkheimer and Theodor Adorno. As internet memes are contingently created and shared by virtually everyone, they are highly effective in contemporary society. Likewise social media, memes function dominantly without the restrictions of space and time and perhaps anonymously, they have a direct effect on the ‘physical real’ and human language, as exemplified by the conceptual framework of my diploma project. The feeling of freedom and anonymity the internet provides allows people to share these contemporary myths in greater amounts, without the necessity of being politically or ideologically “correct” and take responsibility for one's words.
Art is clichély perceived as the mirror of society and therefore it is no wonder that it as well springs towards virtuality. As a concept popularized during postmodernism, representation has remained central in the sphere of arts; the constantly increasing amount of virtual artworks and exhibitions challenge art’s institutional position and tradition in an unseen manner. Digital tools and the internet probably have their own, at least theoretical limits, but I would argue that we are still in the very beginning on the journey of the ‘flatness’, which now (again) dominates the Western societies and especially the art world, fundamentally inviting for further theoretical research.