The most influential discourse on media art up to and around 1995 uncritically based itself on techno-science and the techno-imaginary which it creates. It offers a technologically deterministic interpretation of the relationship between societies and social change. This discourse was successful in institution building and is still very influential today, even though its foundations can shown to be problematic. This is the essence of my 2005 MA thesis on "Technological Determinism in Media Art" which I republish here due to difficulties with my old site.

Following on to Brian's listserv post, I would like to add a few more points on periodisation. Although Kondratieff cycles or long waves do play a role here, the intention is not an in-depth discussion of the long wave theory. The intention is rather to create a foundation for a narrative that describes the second half of the 20th century as an interplay of economic, political, technological and cultural forces, seeking out turning points that allow to identify specific characteristics of techno-economic changes as an explanatory framework for specific cultural or artistic phenomena, such as participatory media and / or media art and technology practices.