RESUMEN:Esta investigación tiene como objetivos, por un lado, exponer determinadas estrategias para la conservación y restauración del arte de Internet, y, por otro, ofrecer una aproximación a la ...definición, fases y tipos de manifestaciones. La concepción de “arte de Internet” engloba una variedad de expresiones que comparten un mismo soporte e idénticos planteamientos de documentación, exposición, almacenamiento y/o mantenimiento. Además, la noción de net art se impone como término globalizador. Asimismo, se ha reconstruido el desarrollo en el tiempo de esta tipología artística. También exponemos varios casos de restauración y ejemplos de técnicas de conservación realizadas en instituciones de referencia. Igualmente, resultó esencial tratar de definir la autenticidad conceptual como requisito fundamental para abordar toda intervención. En este sentido, observamos cómo las particularidades inmateriales se constituyen como una nueva “materialidad”. Así, determinamos la relación de compatibilidad entre la estrategia de conservación-restauración y el mantenimiento del significado de la obra de arte.Palabras clave: Conservación; restauración; arte de Internet; net.art
Creatividad e intercambio López Martín, Elena; Morgado Aguirre, Borja
Sobre prácticas artísticas y políticas de la edición,
06/2023, Volume:
9, Issue:
1
Journal Article
Peer reviewed
Open access
En un momento en el que Internet se ha erigido como nuevo bastión de un consumismo ególatra y feroz, parece necesario volver a recurrir al arte como motor de cambio social. Si bien puede parecer ...difícil hablar del arte de Internet a partir de las filosofías de un artista que falleció antes de la implantación de la World Wide Web, el objetivo de esta investigación cualitativa es rescatar y dar visibilidad a las relaciones existentes y apenas teorizadas entre las políticas de edición artístico-espiritual defendidas por la Eternal Network de Robert Filliou y determinadas estrategias participativas desarrolladas en el seno del arte de Internet.
This paper proposes that posted online content can be understood as (digital) mark-making. Through research as creative practice in the form of drawings created with grey-lead pencil on paper (an ...analogue form of mark-making), the notion of (digital) mark-making is explored as an existential act. Dating back thousands of years, human mark-marking in the form of handprints can be found in caves in many parts of the world, a declaration that ‘I was here!’ Mark-making plays a role in human becoming, the self an ongoing creation rather than already being created, and over time, forms of mark-making evolved into artistic practice, cultural transmission, language and narrative modes for storytelling. With the introduction of the Internet, online content creation fulfils the same roles as traditional mark-making. Posting content online has become an existential act, a way to document one's existence and give proof of presence through storytelling – acts of (digital) mark-making. Current theories on the nature and social functionality of the Internet, particularly social media as modes for storytelling, are engaged to reflexively analyse the drawings which express human-lived experiences that now oscillate between virtuality and reality.
This paper proposes that posted online content can be understood as (digital) mark-making. Through research as creative practice in the form of drawings created with grey-lead pencil on paper (an ...analogue form of mark-making), the notion of (digital) mark-making is explored as an existential act. Dating back thousands of years, human mark-marking in the form of handprints can be found in caves in many parts of the world, a declaration that ‘I was here!’ Mark-making plays a role in human becoming, the self an ongoing creation rather than already being created, and over time, forms of mark-making evolved into artistic practice, cultural transmission, language and narrative modes for storytelling. With the introduction of the Internet, online content creation fulfils the same roles as traditional mark-making. Posting content online has become an existential act, a way to document one's existence and give proof of presence through storytelling – acts of (digital) mark-making. Current theories on the nature and social functionality of the Internet, particularly social media as modes for storytelling, are engaged to reflexively analyse the drawings which express human-lived experiences that now oscillate between virtuality and reality.
As the World Wide Web became accessible to society on a global scale during the 1990s, artists that stepped into this technological and aesthetic environment experienced transformative effects to ...their craft and creativity. For dance, a traditionally ephemeral and corporeal action, the limits and values associated with this condition were susceptible to change. 96 details is the result of dance expert knowledge transferred to new media after persistent research on how to approach the web as a theatre and engage world-wide audiences. With this change of format the choreographers challenged the institutional canons of their field and exceeded spectatorship conventions. Such pioneer experience is a remarkable venture into a new format that extends the understanding of what is dance. As the work becomes technologically obsolete, documenting its efficient making and exchanging process that expands concepts of venue, authorship, embodiment and performance, aims to inspire the future of dance and praise the sharing paradigm of the web.
Internet-based art is deeply embedded in the online behaviours, customs and traditions that are constantly emerging through user interaction and engagement. As such, user experience should be ...considered a fundamental aspect of the artwork in need of considered documentation. This paper provides a historical overview of Internet-based art, that presents the broader socio-cultural aspects of Internet-based art, as experienced by the user. This paper argues that Internet-based art requires the same conservation considerations as more accepted aspects of time-based media art documentation: source-code analysis, materials and equipment lists, variability and artists' intent. By documenting user experience, it enables opportunities to navigate the culturally-embedded principles of Internet culture and contemporary technological standards that may be lost if preservation strategies utilise a more material/code specific preservation strategy. Highlighting experience as a necessary pillar of the identity of Internet-based art, in conjunction with other widely accepted aspects of time-based media art documentation approaches, allows for a richer picture and understanding of defining qualities of works, whilst providing further evidentiary activation into preservation approaches.
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