At both the individual and societal levels, we are entangled within environmental, social, and technological systems that shape our material and emotional states. Contemporary art needs to integrate and challenge the information circulating within these interacting systems to address our increasingly complex lifeworld. This systemic understanding emerged in the 1960s as part of a broader growth in relational thinking within the natural and social sciences, which extended the conceptual boundaries of the artwork. The ecosystem, a model originally developed within ecology, is an example of a systems model as it describes the flow of matter, energy, and information through the physical world. This model has evolved into a powerful analogical tool to describe contemporary culture’s entanglement with nature and technology. The ecosystem model is invoked here to describe how information flows through the artwork. The paper suggests that art is a vital form of communication as it can channel noise or unknown information. This channelling is demonstrated with the artwork, The Creation Myth (1998), by Jason Rhoades. This work anticipated the convergence of natural and technological systems, and it demonstrates the ability of the arts to channel unknown messages or noise, thereby disrupting the dominant signals of contemporary culture.

中文翻译：

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引导未知：艺术生态系统中的噪音

在个人和社会层面，我们都纠缠在塑造我们的物质和情感状态的环境、社会和技术系统中。当代艺术需要整合和挑战这些交互系统中流通的信息，以应对我们日益复杂的生活世界。这种系统性的理解出现在 1960 年代，作为自然科学和社会科学中关系思维更广泛发展的一部分，扩展了艺术作品的概念界限。生态系统是最初在生态学中开发的模型，是系统模型的一个例子，因为它描述了物质、能量和信息在物理世界中的流动。这个模型已经演变成一个强大的类比工具，用来描述当代文化与自然和技术的纠葛。这里调用生态系统模型来描述信息如何在艺术品中流动。该论文表明，艺术是一种重要的交流形式，因为它可以引导噪音或未知信息。这种通灵通过艺术品展示，Jason Rhoades创作的神话（1998 年）。这项工作预见了自然和技术系统的融合，并展示了艺术引导未知信息或噪音的能力，从而破坏了当代文化的主导信号。