The research presents a critical inquiry of the impact of cybernetic concepts on the development of interactive media art, particularly on the complex interrelation between the artist, the artwork, and the audience in process-oriented artworks.
This paper takes as a point of departure, Rosalind Krauss' essay 'The Photographic Conditions of Surrealism', in which she describes the relationship between photography's indexical function and its position as the example par excellence of Surrealist artistic practice. In the same way, this paper examines changing attitudes in Thailand towards photography's artistic status and presumed indexicality as paradigmatic examples of a transformation from the modern to the contemporary.