Abstract
In this paper, I use diagrammatic drawings as a jumping-off point for a series of interdisciplinary meditations involving object-oriented ontology, the media theory of Niklas Luhmann, and a re-evaluation of activist art in the 21st century. Specifically, I propose a revised ontology of art that depends on mass media rather than on metaphysical qualities, subjective experience, or institutional recognition. First, I conduct a visual analysis of my drawings and relate them to Luhmann’s media theory and OOO. I note the visual similarities between my drawings of the mass media object and Futurist painting. Then, I compare Futurist art in 1920s Italy to the state of activist art in 2025 USA. Using art history, visual analysis, and philosophy, I compare these historical moments, their activist art, and how artists engaged mass media in each era. The similarities between 2025 USA and 1920s Italy go beyond the visual, particularly on the political right, though activist art is sequestered almost exclusively on the left. They include the specter of fascism, technological focus, anti-elitist populism, accelerationist philosophies, nationalism, and more. These parallels are reflected in the appearance of my drawings and Futurist paintings. Based on this assessment of the current moment in politics, art, and society, I propose the need for a new ontology of art dependent on digital mass media, arguing that activist art must engage digital mass media as its primary audience in order to become impactful.
Presenters
Jessamyn PlottsAssistant Professor, Art and Design, Texas State University, Texas, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
2025 Special Focus—From Democratic Aesthetics to Digital Culture
KEYWORDS
Object-Oriented Ontology, Mass Media, Activist Art, Futurism, Niklas Luhmann, Drawing
