Abstract
This text questions today's meaning of novelty in art. It proposes a distinction between open and stereotypic novelty.
The origins of the first one can be seen in the fundamental need for innovation of human experience, knowledge and imagination, while the latter derives from the capitalist system of continual production and sale. Due to omnipresent stereotypic behaviour, methods and images (even fantasies) given by the techno -rational society, human mind and actions are regulated, controlled and provided by schematic attitudes.
The good novelty achieves to open the rigid ways, allows to reorganise our views and offers a different perspective. It allows us to reflect internalized patterns and habits and create space of formerly unseen possibilities, images and attitudes.
Creating new phenomena contains similar mechanism to the transformative power of metaphorical expression where a literal sense of words is attacked by absurdity of their new, unreal connection. The structure of metaphor is proposed as a model of innovative thinking recognizable in all fields, where innovation occurs (art, science, product development etc.).
Alike in science, we can find "smaller" innovative approaches (transforming genre or style) and more radical "inventions" (changing paradigms) in art. Innovation in art is not directly connected to cutting-edge technology; artworks based just on new media (in a very broad sense) sometimes bring nothing more than empty demonstration of a new technological effect.
That is also why we need to distinguish between the concept of technologically-defined new media and new artistic medium. New artistic medium is born when it discovers new artistic qualities or strategies in the frame of the world of art.