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Estetičnost visoke tehnologije
Aesthetics of hi-tech
Univerzitet u Novom Sadu, Ekonomski fakultet, Subotica, Srbija
Sažetak
U poslednih četvrt veka, tehnologija je počela sve intenzivnije da zadobija estetsku dimenziju. Podstaknut komercijalnim motivima, s vremenom ovaj proces doživeo je zamašnu simboličku diferencijaciju, postajući na taj način važnom polugom kulturološkog razvoja. Sve je ukazivalo na to da kultura pod uticajem tehnologije biva nepovratno profanisana, te da estetsko gubi karakter izuzetnog i da biva pretočeno u svakodnevno. Istovremeno, estetski kvaliteti predmeta i okoline nesumnjivo su doprineli implementaciji tehničkog diskursa. Prekomernost tehnifikacije je, prema ovom stanovištu, na posletku dovela do gubitka duhovnog sadržaja predmeta, koji je estetsko činio vrednim. Zaključak je jasan: tehnika kao primena procedura sistematske kontrole potisnula je istinsku estetsku vrednost zarad površinske dopadljivosti. Očekivana estetska sloboda biva potisnuta funkcionalizacijom, a mogući etički smisao lepih predmeta podriven tehničkom heteronomijom. Međutim, u najnovije vreme pokazuju se i neke drugačije tendencije koje najavljuju mogući otklon od puteva zacrtanih neumoljivim razvojem tehnike. Naime, tehnika postaje toliko prisutna da biva sve manje uočljiva, toliko dobija na složenosti da se gubi preglednost njenih mogućnosti. Te nove pojave dovele su do mutacije, sada već, tradicionalnog pojma tehnike. Sistem instrumenata kontrole počeo je da pokazuje nepredviđene i, čak, nepredvidljive karakteristike. Time se suprotno svim pesimističkim očekivanjima, otvorio prostor za neke strategije koje bi mogle da budu slobodne u odnosu na tehnički duh. Ukratko, estetska svojstva su uočljiva ne samo u funkcionalizovanoj primeni površinske dekoracije nego i u nepredvidljivosti tehnoloških procedura, koje budući da su izgubile funkcionalnost sve više zadobijaju estetski smisao.
Abstract
During the last quarter of century, technology started, more and more, to obtain an aesthetic dimension. Urged by commercial motifs, this process, as time passed by, experienced the huge symbolic differentiation, becoming in that way an important factor of cultural development. Everything pointed to the fact that culture, under the influence of technology, became irreversibly profane and that the aesthetic lost its character of extraordinary and was transferred to everyday. At the same time aesthetic qualities of objects and environment helped to the implementation of technological discourse. Expected aesthetic freedom was forced out by the functionalization, and the possible ethical meaning of beautiful objects was undermined by the technological heteronomy. Nevertheless, in the recent times some other tendencies, that announce possible retreat from the paths sketched by the unmerciful development of technology, appeared as well. Technology is becoming so present that it is becoming unnoticeable, and is becoming so complex that we loose the understanding of its possibilities. Those new phenomena caused the mutation of the traditional notion of technology. System of the instrumental control started to show the unpredicted, and even, unpredictable characteristics. In the contrary to all pessimistic expectations, the new space for the strategies that could be free from the spirit of technology showed up. In short, we can see the aesthetic characteristics not only in the functionalized application of surface decoration, but in the unpredictability of technological procedures, which, because had lost the obligated functionality, more and more obtain the aesthetical meaning.
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