Technological determinism is the belief that science and technology are autonomous and the main force for change in society. It is neither new nor particularly original but has become an immensely powerful and largely orthodox view of the nature of social change in highly industrialised societies. In this paper I analyse the presence of technological determinism in general discourses about the relationship between social change and science and technology.
I show that techno-determinist assumptions underlie developments in what is called technoscience, a term describing new practices in science and technology with particular relevancy for the related fields of genetic engineering and computer science. Those areas create a specific set of narratives, images and myths, which is called the techno-imaginary. The thesis of my paper is that the discourse on media art uncritically relies on many elements of the techno-imaginary. A specific type of media art, which is identifiable with people, institutions and a period in time, is particularly engaged with the tropes of the techno-imaginary. This strand, which I call high media art, successfully engaged in institution building by using techno-determinist language. It achieved its goals but was short lived, because it was built on false theoretical premises. It made wrong predictions about the future of a 'telematic society' and a 'telematic consciousness'; and it missed the chance to build the foundations of a theory of media art because it was and is contaminated by the false assumptions behind technological determinism.