All technology must move toward the way things were before humanity began changing them: identification with nature in the manner of operation, complete mystery.
Art, once so elegant, has been transformed by representation into an object, cluttered and confused not only by operating systems and applications, its once-accepted inherited discourse, but by the words and the theories used to prescribe its very being. These prescriptions are themselves shrouded in a language that, disconnected from the world as it is, is no longer useful. To recapture that connection, it is necessary to find and use a tool that will leave no traces, that, in other words, will allow an unmediated relationship with the thing in itself.
The problem is more serious: we must dispense with computers altogether and get used to working with tools. It can be put this way too: find ways of using computers as though they were tools, i.e., so that they leave no traces. That’s precisely what our computers, video cameras, amplifiers, web-servers, projectors, cameras, mobile phones, etc., and even the internet, are: things to be used which don’t necessarily determine the nature of what is done.
Nowadays everything happens at once and our souls are conveniently electronic.
BALSAS is an interdisciplinary journal on media culture. BALSAS started as an initiative of VILMA (Vilnius Laboratory of New Media), which goal is to introduce the media culture to Lithuania. BALSAS wears a format of new media, whereas content is created with participatory principle by participants/readers and with editorial principle by editors. BALSAS has an intention to create a digital and critical community, which develops the discourse of media culture in Lithuania.