By Mindaugas Gapsevicius
The preservation of net art is a complex topic which requires the construction of a specific approach to look at internet artwork, one that takes into account the material dimension of the artwork. Preservation does not deal only with aesthetics, not only about the way the audience experiences artworks, but needs to have access to these types of information so the preservation process can take place.
The 3D Additivist Cookbook, devised and edited by Morehshin Allahyari & Daniel Rourke, is a free compendium of imaginative, provocative works from over 100 world-leading artists, activists and theorists. The 3D Additivist Cookbook contains 3D .obj and .stl files, critical and fictional texts, templates, recipes, (im)practical designs and methodologies for living in this most contradictory of times.
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.
The remixthebook.com website is the online hub for the digital remixes of many of the theories generated in the print book and features the work of artists, creative writers and scholars for whom the practice and theory of remix art is central to their research interests.
netzspannung.org is a platform for interactive art and media art education. Netzspannung.org has been online since 2001, and defines itself as a tool for researching, reflecting upon, and imparting electronic culture. The platform for the › theory and practice of media art offers over 2,500 work descriptions, texts, images and videos for the purpose of interdisciplinary education in art, design and informatics.
Nettitudes contains five essays about art and new media, and consists of two parts. The first focusses on 'net art' in the broadest sense of the word, and aims to refute persisting false definitions of this emerging art field. In the second part of the book net art is approached from three very different angles: the history of net.art (with dot), a contemplation on the digital archive, and last but not least a text on music and sound art in the context of new media.
[Abstract] Digital art activities (commonly known as net art) refer to a wide range of works that are computer-based art, accessed freely online, created by artists using web browsers, developer codes, scripts, search engines, applications, and various other online tools.
Net art blurs the boundaries between art, design, political activism, and communication and raises questions about the authorship and translocality of art. Its relationship with the art world has been unclear as much as its nature as an avant-garde art movement.
The world's first conceptual art ebook, "How To Be An Internet Artist" is an eclectic mix of new media fictions that explore many of the themes generated in Amerika's internationally-exhibited net art, including hypertextual consciousness, cyborg-narrators, reality hacking, and the process of creating on-the-fly narratives via an ongoing practice of surf-sample-manipulate. As one of the net art characters in the ebook says, "I am what I am: a new revenue stream model, a marketable skills-set, a diverse portfolio of intellectual capital.
Technical innovations shape only a small part of computer and network culture. It doesn't matter much who invented the microprocessor, the mouse, TCP/IP or the World Wide Web; nor does it matter what ideas were behind these inventions. What matters is who uses them. Only when users start to express themselves with these technical innovations do they truly become relevant to culture at large.