ABSTRACT
By Postmodernism in general, we understand practices consequent upon the development of post-industrial modes of production from the 1960s onwards. In the Postmodern era, computers have become the centerpiece of technological achievement, creating needs as well as satisfying them. Technology has been naturalized. It is what we exist in, as well as what we use. We now live in a techno-habitat. This naturalization of technology provides a general criterion of Postmodern culture. It is also argued that the individual artwork embodies broader features of socio-historical agency – this is its iconology. The iconology of Postmodern art is shown to consist of the aforementioned naturalization of technology – habitualized in many different aspects of artistic theory and practice, and their contexts of production.
