Kites and Websites collects a selection of works developed in the framework of Evan Roth’s Internet Landscapes project, an ongoing investigation into the network, nature and the self. Like a new romantic wanderer, he has studied the global submarine fiber optic cables in various countries, often finding himself alone in remote locations.
Bilingual edition is dedicated to the discussion of preserving digital memory and culture, bringing together internationally renowned experts of the field of conservation of digital art, collections digitization, database politics and aesthetics
The book Possible Futures: art, museums and digital archives is dedicated to the discussion of preserving digital memory and culture, bringing together internationally renowned experts of the field of conservation of digital art, collections digitization, database politics and aesthetics. It is published by Editora Peirópolis and Edusp and it is available in paperback and ebook editions.
The result of a seminar held at the University of São Paulo in 2012, the work edited by Giselle Beiguelman and Ana Gonçalves Magalhães has articles written by a team of national and international experts addressing issues from the preservation of natively digital art to conservation processes of digitized collections, through the aesthetics that emerge from the databases to the new political and cultural complexity that arises with the era of “amateur archivists” and large “memorizer corporations”, such as Google and Facebook.
Editors: Giselle Beiguelman, Ana Gonçalves Magalhães
As an application oriented research project, Owning Online Art (OOA), selling and collecting netbased artwork (url) investigated requirements for the integration of web-based art into the art market. The business partners envisioned the foundation of a gallery for web-based media art: package deal was intended to prove the sales merit of web-based works by the detailed definition of the individual artistic work and by contractual agreements concerning their maintenance and use on the part of the buyers. The retaining of purchase commissions and grant commissions is due to the conservation effort that is often difficult to estimate in advance in view of technological advances as well as a value philosophy which continues to prize the idea of the unique specimen, and therefore the exclusive claim of ownership.
The research project Owning Online Art – Study for a Netart Gallery of the UAS Northwestern Switzerland, Academy of Art and Design was funded by the Kommission für Technologie und Innovation (KTI). This publication was supported by the UAS Northwestern Switzerland, Academy of Art and Design, the Christoph Merian Foundation und the Migros Kulturprozent.
Networking, The Net as Artwork(pdf) by Tatiana Bazzichelli, Preface by Derrick de Kerckhove
"The concept that networking is art is loaded with meaning, since it unites two seemingly different worlds: the practices of networking with that of art. In this context, however, the two are perfectly integrated. To network means to create relationship networks, in order to share experiences and ideas in the context of a communicative exchange, and an artistic experimentation in which the sender and the receiver, the artist and the public, act on the same plane."
From Browser to Gallery (and Back): The Commodification of Net Art 1990-2011
by Jennifer Chan, Advised by Professor Chris Hanson, Syracuse University Special thanks to jOnCates and Curt Cloninger September 2011-January 2012
Since its beginnings in the late 90s, internet art has had a fickle relationship with the museum. While commissions and granting initiatives have
been established for media arts in Europe and America, the relationship between internet art and its fluctuating appearance in institutions demonstrates that it has not yet been wholly embraced by mainstream contemporary art. Due to its variable reproducibility, the curation and collection of net art has presented challenges and transformations to the traditional operations of art distribution. Sculptures, digital paintings, installations and performances appear on the internet as documentation of art, whilst animated gifs and videos are moving images that require browsers, screens or projections as the apparatus for (re)presentation. This essay traces the shifts in value of internet art from browser
to gallery, and compares disparate examples of curation, collection and selling of net art from past and present. Some questions that started this inquiry were:
• Can internet art make money like other artistic genres?
• Who buys internet art?
Net.Art on the net.
Existing on the internet is Net.Arts biggest strength and at the same time is its biggest flaw. It
is available for everybody, everywhere and at any time, a reason for Net.Artist Olia Lialina to
say: we dont need a museum, as long as its out there. This sounds fine, but unfortunately
there are several problems with being out there. (Lotte Meijer.)
Read the paper The many locations of net-art(pdf) by Lotte Meijer.
When the Internet emerged as a mass global communication network in the mid-1990s, artists immediately recognized the exciting possibilities for creative innovation that came with it. After a century of unprecedented artistic experimentation, individuals and groups were quick to use the new technologies to question and radically redefine the conventions of art, and to tackle some of the most pressing social, political, and ethical issues of the day. Covering email art, Web sites, artist-designed software, and projects that blur the boundaries between art and design, product development, political activism, and communication, Internet Art shows how artists have employed online technologies to engage with the traditions of art history, to create new forms of art, and to move into fields of activity normally beyond the artistic realm. The book investigates the ways Internet art resists and shifts assumptions about authorship, originality, and intellectual property; the social role of the artist; issues of identity, sexuality, economics, and power; and the place of the individual in the virtual, networked age. Throughout, the views of artists, curators, and critics offer an insider's perspective on the subject, while a timeline and glossary provide easy-to-follow guides to the key works, events, and technological developments that have taken art into the twenty-first century.
200 illustrations, 100 in color (read a selection: Internet art(pdf)
First Monday, Special Issue #7: Command Lines: The Emergence of Governance in Global Cyberspace
Digital art has expanded, challenged, and even redefined notions of public art and supported the concept of a networked commons. The nature of agency within online, networked “systems” and “communities” is crucial to these developments. Electronic networks enable exchange and collectivist strategies that can question existing structures of power and governance. Networks are public spaces that offer enhanced possibilities of interventions into the social world and of archiving and filtering these interventions over time in an ongoing process. Networked activism and tactical response as well as artistic practice that merges physical and virtual space and augments physical sites and existing architectures are among the practices that are important to the impact of digital public art on governance.
Net art, net.art, Internet art, Web art, online art... whatever you call it, the concept remains the same: Net art is art that uses the Internet as an artistic medium, and which could not exist without it. The latter characteristic distinguishes it from art that merely appears on a web page. Net artists engage with the Internet as a medium in the same way that painters use paint and musicians use music. And like the fields of painting and music, net art can be as creative, as personal, as political, as forceful or as playful as the artist desires.
This pathfinder is designed to provide introductory research tools to the newcomer to net art.
Ten Myths of Internet Art
by Jon Ippolito
This article identifies ten myths about Internet Art, and expalins the difficulties museums and others have understanding what it means to make art for the Internet. In identifying these common misconceptions, the author offers insight on successful online works, provides inspiration to Internet artists, and explains that geographical location does not measure success when making art for the Internet. The article also mentions that the World Wide Web is only one of the many parts that make up the Internet. Other online protocols include email, peer-to-peer instant messaging, video-conferencing software, MP3 audio files, and text-only environments like MUDs and MOOs. The author concludes his list of myths with the idea that surfing the Internet is not a solitary experience. Online communities and listservers, along with interactive Internet artworks that trace viewers and integrate their actions into respective interfaces, prove that the Internet is a social mechanism.