Art as Knowledge: Internet Art (original) (raw)
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Internet art, technology and relational aesthetics
2009
Some contemporary artistic practices, such as internet art, are difficult to understand, partly because their originality and relevance is not perceived. In this contribution, we look at internet artists’ relations to society, and to their position in art history. This can elucidate a number of important characteristics of this contemporary form of art. First, it is interesting to see that the goal of early 20th century avant-garde (in particular Dadaism), nl. to bring together social life and art, is motivated early internet art. The role of technology (the computer, the internet, hacking) is very important in this, and also implied the possibility that avant-garde strategies reached a more widespread public. Second, we present the main points of so-called ‚relational aesthetics’, a contemporary theory of art that considers contemporary art practice in terms of interhuman relations and small-scale social networks. Third, we question the possibility of considering internet art as an...
#mm Net Art—Internet Art in the Virtual and Physical Space of Its Presentation,, 2019
What is Net art? Does its name refer to the medium it uses? Is it the art of the Netizens, the inhabitants of the internet? Is it an art movement or an art form? This book aims to provide a starting point in the search for answers to these and similar questions concerning the existence of Internet art. Edited by Marie Meixnerová, a Czech curator and scholar, #mm Net Art—Internet Art in the Virtual and Physical Space of Its Presentation approaches Internet art as a developing art form, through five thematic sections that map the “chronological” stages of this development. Featured authors include Katarína Rusnáková, Dieter Daniels, Marie Meixnerová, Domenico Quaranta, Natalie Bookchin, Alexei Shulgin, Piotr Czerski, Brad Troemel, Artie Vierkant, Ben Vickers, Jennifer Chan, Gene McHugh, Gunther Reisinger, Matěj Strnad, Lumír Nykl. For those who know little about it, this anthology can serve as an introduction to this specific area of Twentieth and Twenty-first century art; to the expert reader, it offers new and as yet unpublished information, and hopefully a new perspective on the phenomenon of Internet art. According to Domenico Quaranta: “#mm net art is an anthology edited and filtered from a very specific node in the network. This is exactly what makes it so precious: in a networked world in which all information seems to be available in the same form, at the same speed and on the same screens, your point of access is what actually shapes your point of view; and looking through another’s point of view is what allows you to think outside your own box, pardon, bubble.”
Art and the Internet 1994 - 2014. Notes and Comments
Megarave - Metarave, 2014
Since the early 2000s, an increasing number of artists with a focus on desktop-based practices decided, where possible, to leave the technologies at home when they were invited to exhibitions. Software was converted into prints, videos, installations; performative media hacks were documented and presented in set-ups inspired by the ways in which conceptual and performance art manifest themselves in physical space; and the early adopters of the “post-internet” label, whose practice mainly consisted in appropriating and reframing internet content and playing with the defaults of desktop-based tools, naturally looked at video, print and installation as media to operate in physical space. This text has been commissioned for and first published in Megarave - Metarave, exhibition catalogue, Kunsthaus Langenthal / WallRiss Friburg 2014, pp. 37 - 46. Re-published in Domenico Quaranta, AFK, Link Editions, Brescia 2016, pp. 8 - 22
Art’s Networks_A New Communal Model
Every artistic approach throughout history has formed its own language and reshaped the object of art. As for contemporary art, it was technology that determined its orientation: the computer, intermediary spaces, mass communication tools and the Internet have become the new media for many artists working today. It is clear that the digital perspective presents new and powerful sources Essay
Lessons from Internet Art About Life with the Internet
Second International Handbook of Internet Research, 2019
Internet has been incorporated into our lives for almost two decades now. Within this time, it has proven itself to be so much more than a new technology for a new machine or "a medium of mediums." Its relation to every aspect of life from a social, political, economic, and cultural perspective makes the Internet the most formative technology we have ever developed. Today, the length and depth of Internet's role in our lives means that the Internet becomes part of our reality. We no longer see our lives with or without the Internet, it simply becomes "life" as "life with the Internet." During these last twenty-five years, Internet artfrom net art, to post-Internet art todayhas been co-evolving in relation and in response to the Internet. As a cultural product of Internet technology, Internet art has been reflecting the multifarious changes we have been experiencing by living with the Internet. Copyright, open-source software, convergence, remix and appropriation culture, mixed-reality, and network sociality are all issues that are being raised and explored by Internet art. This chapter reviews Internet art's evolution along
Art, Internet, Post-Internet: Between Theory and Practice
Although the term post-Internet emerged in 2008, since then many writers, critics and curators have been involved in the discussion of what it might mean. Some see it as the ’translation’ of net.art to fit the ecosystem of contemporary art, whereas others understand it as a form that is ’aware’ of its own environment and still carries the flag of institutional critique. Instead of using the Internet just as its material, post-Internet practitioners also take the Internet as subject matter and problematized topics like surveillance, infrastructure and control over the Internet. This dissertation puts an emphasis on theorizing the concept of post-Internet by referring to invisible infrastructures that shape the Internet, conceptualized by James Bridle as ’the New Aesthetic’; critique of neoliberal agents on the Internet as discussed by Zach Blas; the validity of distinction between digital and physical culture in the age of ’digital natives’ and the problems of authenticity, performativity and temporality in the post-Internetage. Opening chapters gives a non-linear development of the Internet as a medium and the subject of artistic practice, thus distinguishing net.art that is made using material gathered online from post-Internet. After ’defining’ post-Internet, the dissertation looks into real life applications and case studies in order to explore curatorial strategies and processes, especially focused on the rep- resentations of such works in physical spaces. Methodologically, theories are handled and explained using the practices of artists and other producers to point out the disappearance of difference between the theory and practice in life after the Internet.
‘Art Inquiry’. Recherches Sur Les Arts, Vol. XIV (XXIII): Performative Aspects of Art, ed. Grzegorz Sztabiński, Łódź: Łódzkie Towarzystwo Naukowe, p. 199–219, (pp. 21), 2012
Abstract: The starting point of the article is the assumption that the performative turn directs our attention to the expressive dimension of social activity and events which have the character of a process. If we transfer this assumption to the field of visual culture, then the object of our inquiry will no longer be images, but rather their perception by participants of visual events or the processes leading to those events. The performative aspects may be noticed in the definition of the "visual event" formulated by Nicholas Mirzoeff, who suggests the introduction of this term to replace "image." In accordance with this concept, the visual event constitutes the main aspect of the reception - the process of seeing, in which the user or the consumer seeks information, meaning or pleasure in a encounter with visual technology: from an oil paintings to television and the Internet. The main thesis of the article is that the visual event is the product of a network which in turn conditions the actions of users communicating with one another. The performative aspects of Internet-mediated communication are revealed when Internet employ speech acts. Simultaneously with this process of "doing things with words," the interlocutors communicating with one another create a "community" which resembles 'communitas' (the term used by Victor Turner). We can view 'communitas' as a network "community", in which the Internet users interact with one another not only with the help of verbal messages, but also with other forms of internet visual communication (images derived from web-cameras, flash animations and photoblogs). The presented issues find their reflection in the net artwork Listening Post (2003) by Marek Hansen and Ben Rubin, the "visualization" of the Internet-mediated communication of the users employing speech acts in chat rooms. The online verbal communication used in this work takes on the dimensions of a performance, which is the source of its visual aspects, and the speech acts employed by the Internet users function as "citations" within in the "iterability model" in the sense suggested by Jacques Derrida. The net artwork Bodies © INCorporated (1993) by Victoria Vesna is another example of performative aspects of Internet-mediated communication, which is described in the context of Judith Butler's theory of performativity. These examples present the ways of using performative aspects of communication Internet-mediated communication in net art.
The Digital Time of Internet Art
This paper examines the role of Internet technology as an important factor in the creative processes of art making. The paper’s focus is on digital time, the physical life of internet art and the artist’s choices relating to that. By examining the physical life of internet art, the paper highlights the time-based element of internet art and how internet art essentially unfolds and evolves over time. This raises issues on how internet art is being both preserved and experienced online and how its aesthetic, conceptual and historical identity evolves alongside the technological medium. The paper continues with an examination of the artist’s decision making process relating to the artwork’s digital time conditions from a political point of view. By choosing its present online conditions, artists can manipulate the artwork’s past and future, gaining unprecedented control over the artwork itself. Specific examples of artists are being presented and discussed throughout the paper to provoke and support the paper’s concept of digital time in internet art, as a very important factor that allows us to rethink how art operates within our contemporary conditions.
The object of this study is to analyse the impact of the Web on art. For this purpose I have made a distinctions between Net Art, which emerged in the 1990s and has been developing up till now, and the phenomenon of art on the Web, which views the Web as an exhibition space. Examinig the first case, I will mention such features of Net Art as networking, the rhizome, hyper-textuality, multi-subjectivity and framed objects. In the second case, I will have a closer look at several types of museums on the Web, including ordinary galleries in the form of digitalised image collections of art, galleries or museums which use augmented technologies, and galleries designed in the 3D graphic environment. I will also outline a broader perspective on the influence of technology on art and examine its paradigm, consisting in the accommodation of art on the Web at least in the two ways shown in the study. I will use some examples of net art works created in recent years, and will visit some museums on the Net. This approach assumes that the development of the Web has been a breakthrough in the history of art, which is reflected in its impact on the arts on a previously unprecedented scale. One could even say that in this case, the impact is total. The Web has not only become a medium that allows us to extend the boundaries of art, but owing to its spatial character allowing it to become an exhibition space, it has even taken over the functions of the traditional art scene. Hence, I believe that the development of technology, especially the Internet, is a turning point for the arts in their development and in the methods of their presentation and archiving.