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[question-1] :v: [question-2] :v: [question-3]
> [question-1//perspektive]
duchamp inverts a gallery with strings into a totally woven room.
the gallery turns with playing teenies and astonished audience into
a room between a hakim bey TAZ zone and a bilwet entertainment
zone (TEZ): art as shocking as entertaining. YOUNG-HAE CHANG HEAVY
INDUSTRIES are much between this poles and propagate their wish
to entertain. do you think there still exists autonomous zones to work
out a kind of shock experience or is this near zero room for you of no
importance?
>> [question-1//response]=[YOUNG-HAE CHANG HEAVY
INDUSTRIES:]
- Artists always work in a given space, which has more or less importance
according to the artist. For our work, which is on the Web, the essential
importance of the space is at once given -- and taken. We accept it and enjoy
it as a premise of our work. Is the space itself shocking? It used to be, but,
as with most things in art, you get used to it. Is our work shocking? Not
really.
The goal of most artists isn't to find or create an "autonomous zone" to put
their work in. The goal is to transform a given zone or space with the
artwork.
Sometimes this space is of the utmost banality and dependency. The
Internet and Web have become familiar and even boring and sometimes even disagreeable spaces. The Web artist's goal is to make it become less familiar, less boring, less disagreeable, to make it become fresh and new again.
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> [question-2//perspektive]
our "context & connex" society allways wants to get in touch and
get linked to everything. YOUNG-HAE CHANG HEAVY INDUSTRIES rejects
linkage and produces a viewer-island to send your on a journey through
textanimation and sound. eric kluitenberg proclaims for an avant garde
working nowadays that its main purpose is to disrupt and disconnect the
hegemonial structures: to smash the surface. is your reduction to
textual and sound elements a kind of smashing the surface of/on the web
viewer?
>> [question-2//response]=[YOUNG-HAE CHANG HEAVY
INDUSTRIES]
- We suppose so. The computer screen is a superficial support, akin to the
surface of a painting. Any Web art that employs images tries to create visual
depth to this surface. Any Web art that employs textual information also tries
to create depth, albeit with a strategy similar to the writing using: to make
the reader forget he or she is looking at ink on a bound page. In this sense,
yes, our work and other textual work tries to smash the surface of the
computer
screen.
The music that accompanies our texts also serves to make you forget you're
looking at a computer screen. It doesn't necessarily help you to
concentrate on the text, and, in fact, it probably makes it more difficult, because music, more than other art genres, makes your mind wander. This then is also a
kind of smashing of the surface.
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> [question-3//perspektive]
bilwets data dandy strolls along the hypermedia highways a few years
ago as an descendant of walter benjamins flaneur of the passages. today
the data dandy is more alonge and alone in the "real existing electronic
loneliness" (bilwet) and is more encapsuled as before. your flash animations
simulates the "good" old flaneurie moment - a kind of data pointilism. is
YOUNG-HAE
CHANG HEAVY INDUSTRIES a lost text flaneur and is flash beauty the last rule
to break? :-)
>> [question-3//response]=[YOUNG-HAE CHANG HEAVY
INDUSTRIES]
- We hope so. But we know better. Our greatest desire is that our Flash pieces
make you become a flaneur. Flash as the last rule to break, however, is a
premature assessment and wishful thinking. Flash and the Web are in its
infancy, mere stick figures waiting for its Michelangelos to add flesh,
muscle,
and breathtaking movement and beauty to them. We're still writing on cave
walls. However, Lascaux remains very beautiful.
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