The Web wasn't envisioned as an artistic medium.
But then, neither was photography, film, or video.
The Niepce brothers, who are credited with creating
the first photograph, didn't set out to make art.
They were trying to sell more newspapers. Daguerre,
another pioneer in photography, wasn't looking for
salvation; he was trying to make a buck. Edweard
Muybridge's early experiments in film were motivated
by scientific inquiry, not by aesthetic contemplation.
Many of the new artistic media of the last 150 years
have their roots in industry and capitalism. Although
it may not appeal to many artists working in these media,
the truth is that they are all disciples of the techno-
cratic machine aesthetic. It's just that the romantics
and the visionaries fell in behind the industrial apparatus
and bent these media to purposes for which they were not
originally intended.
There are some uncanny parallels in the development of the
Web, except that there's the added intrigue of its genesis
in the military warfare culture.
But just as photography, film, and video were eventually
embraced by artists as new expressive languages, artists may
discover that the Web provides them with new ways of speaking
and new audiences.
This will prove particularly valuable for artists interested
in appropriating the languages of popular culture. After all,
that's what photography, film, video, and now electronic art
all share in common; the fact that these languages are part of
everyday discourse for practically every member of the tribe.
And this relationship to the culture at large is also what
separates these media from the more traditional practices of
painting and sculpture, which have more elitist pretensions