T echnology, generally linked with natural sciences, occasionally ends up being treated like a mythology. This is particularly so when it turns into a language. It holds no secrets for its users, but those who cannot decode it find it mysterious.
This phenomenon is not specific to a certain period or development in human history. For a computer-illiterate person even switching on a desktop, or opening word document are impossible tasks; not dissimilar to a non-Chinese speaker hearing a conversation in Mandarin, who is unable to comprehend it. Such a person may like the sound of Chinese, or be fascinated with the swiftness of computer programs, but for them these entities belong to alien domains.
Likewise the latest computer-generated means and technologies to create art pose a challenge for artists still occupied with conventional painting modes; oil, tempera and fresco. (To a multimedia artist, the technique of tempera painting can be a similarly inaccessible technology). The question is where can the users of various dialects of art converse, after the makers and receivers of new-media art? A majority of their audience enjoys what is presented at a gallery, or on a social media site, but fail to fathom its meaning due to their unfamiliarity with its aesthetics.
The work needs to be interpreted in text. Translation is a significant - and sensitive - phenomenon. When translators pick up a book, they know that the target readers are, by and large, unaccustomed to the alien ton.