I don't think artists as a whole have a particular aversion to technology, unless you specifically define art to exclude all the technologically influenced art, in which case it becomes true by construction.
There are huge areas of art based on strong engagement with technology, and art/tech crossover types who write code and build stuff as part of making their artworks are the norm in those. Areas like new-media art, electroacoustic music, cybernetic sculpture, etc. basically require crossover, and they are definitely more vibrant scenes these days than oil-paint-on-canvas is. This journal's been around since 1968: http://en.wikipedia.org/wiki/Leonardo_%28journal%29. Some miscellaneous people whose work is interesting in that vein: Julian Oliver, Roy Ascott, Toshio Iwai, Edward Ihnatowicz, Nam June Paik, Cory Arcangel. More examples (tilted towards recent stuff) can be found in this online database: http://rhizome.org/artbase/
Computer-music is particularly well established, with 5-6 journals and numerous conferences and exhibitions, as well as centers like IRCAM and CCRMA. I think actually if you take well-known post-WW2 composers, a substantial proportion come out of the tech-crossover angle, folks like Steve Reich (tape loops) and Iannis Xenakis (digital synthesis, granular synthesis).
Of course, there are areas of art that don't care about technology either. And they're somewhat overrepresented in the establishment "cultural life of cities in the West", because that tends to take a very conservative, backwards-looking view. It's all about upper-middle-class people taking in high culture as it existed in the 1920s and earlier: classical music, paintings from the great masters, Renaissance sculpture, the standard repertoire of operas, etc.
There are huge areas of art based on strong engagement with technology, and art/tech crossover types who write code and build stuff as part of making their artworks are the norm in those. Areas like new-media art, electroacoustic music, cybernetic sculpture, etc. basically require crossover, and they are definitely more vibrant scenes these days than oil-paint-on-canvas is. This journal's been around since 1968: http://en.wikipedia.org/wiki/Leonardo_%28journal%29. Some miscellaneous people whose work is interesting in that vein: Julian Oliver, Roy Ascott, Toshio Iwai, Edward Ihnatowicz, Nam June Paik, Cory Arcangel. More examples (tilted towards recent stuff) can be found in this online database: http://rhizome.org/artbase/
Computer-music is particularly well established, with 5-6 journals and numerous conferences and exhibitions, as well as centers like IRCAM and CCRMA. I think actually if you take well-known post-WW2 composers, a substantial proportion come out of the tech-crossover angle, folks like Steve Reich (tape loops) and Iannis Xenakis (digital synthesis, granular synthesis).
Of course, there are areas of art that don't care about technology either. And they're somewhat overrepresented in the establishment "cultural life of cities in the West", because that tends to take a very conservative, backwards-looking view. It's all about upper-middle-class people taking in high culture as it existed in the 1920s and earlier: classical music, paintings from the great masters, Renaissance sculpture, the standard repertoire of operas, etc.