Using the hypothesis that interaction with net art can be categorised, the primary purpose of the research was to generate a taxonomy of this interaction. Emphasis is given to interactive web based ...works that require the user to participate by contributing material to the piece. An initial period of contextualisation was required to position net art within contemporary arts culture this included an examination of previous attempts at categorising interactivity and the exploration of connected historical art practices. Most previous attempts at categorisation either characterise types of interactive work, or detail specific interactive characteristics the work itself may have. This aim of this thesis was to take an alternative approach by focusing on the interaction itself in order to create a taxonomy. To establish this characterisation of interactivity, several practical pieces of internet art were created that doubled as data collection tools. The main outcome of this project resulted in the development of my own Connected, Partially Connected and Unconnected ( C.P.U.) model of interactivity. This in turn necessitated the examination of the interactive process which resulted in defining a loop of interaction . This loop of interaction specifies several separate phases to the interactive process, the C.P.U. model of interactivity occupying one of these phases. This thesis primarily provides a platform with which to further interrogate interaction with net art. An unexplored area of Human Computer Interaction (HCI) that is specific to net art has been identified and is therefore of use to theorists and researchers working in this area. It is also of use to artists enabling them to better understand how interaction is understood within the context of their own practice.
Portraits of No One: An Internet Artwork Martins, Tiago; Correia, João; Rebelo, Sérgio ...
Proceedings of the 28th ACM International Conference on Multimedia,
10/2020
Conference Proceeding
Portraits of No One is an internet artwork that generates and displays artificial photo-realistic portraits of human faces. This artwork assumes the form of a web page that synthesises new portraits ...by automatically recombining the facial features of the users who interacted with it. The generated portraits invoke the capabilities of Artificial Intelligence to generate visual content that makes people question themselves about the veracity of what they are seeing.
Selon Gregory Ulmer et Shoshana Felman, le monde contemporain serait caractérisé par la multiplication des désastres à grande échelle et des traumatismes vécus de façon collective (l'Holocauste, le ...9-Septembre, la pandémique du SIDA, la présente guerre en Iraq, etc.). Le traumatisme serait désormais l'expérience collective la plus communicable entre diverses générations et au-delà des frontières géopolitiques. Faisant écho à ces propos, un nombre important d'œuvres d'art conçues spécifiquement pour l'Internet mettent en lumière les phénomène associés à la commémoration des tragédies planétaires et des traumatismes collectifs, considérés comme fondamentaux dans la formation des identités et des communautés contemporaines. Ces œuvres, qui adaptent la forme du monument, de l'œuvre commémorative ou du témoignage ne font cependant pas la chronique du désastre. Elles assujettissent plutôt les caractéristiques formelles, techniques et rhétoriques propres à l'art numérique à un projet précis, celui de démontrer l'importance globale de la situation de crise, ainsi que la nature dialectique du traumatisme collectif et du tissu associatif au sein duquel se forme la mémoire. Cet article propose que l'Internet fournit un site idéal pour la création d'un art commémoratif qui s'adresse à des publics délocalisés. Dans ce contexte, les propriétés temporelles et d'interactivité qui sont caractéristiques de l'art numérique invoquent le processus de la mémoire et affranchissent l'activité commemorative du lieu physique et des contraintes géopolitiques qui le sous-tendent.
Breaking out: The trip back Thorington, Helen
Contemporary music review,
12/1/2005, 2005-12-00, 20051201, Volume:
24, Issue:
6
Journal Article
Peer reviewed
The author discusses how sound was used in early Turbulence Internet works (1996-1998) and musical collaborations distributed between multiple physical performance venues (1998-1999). Focusing on the ...open composition, the article addresses the challenges of Internet-based musical interaction, including asynchronous time, lag and technical glitches. The latter part of the article focuses on the advent of mobile devices and wireless networks and the migration of computing out of the desktop computer into the physical world, and the resulting changes in musical experience. As composers and non-composers encourage active 'audience' participation in the realization of the work, the accepted nature of performance is called into question and a shifting relationship between the artist (composer), artwork (composition) and audience is introduced.
Today, many artists work on computers and peripheral devices. How can their works be categorized as art? What should their works be called? How do we define this art form? In this philosophical ...inquiry, I review the traditional classification of arts in their historical context, to argue that, instead of "computer art," "new media art," "Internet art," or other such terms, "digital art" is a better term to describe art created using the computer. I do not suggest the term "digital art" for art that is output from the computer to various surfaces and replicates traditional forms such as painting and graphic design, but instead argue for it as a term to define art that involves the computer in producing the work and that is ephemeral and non-atom based. In order to establish a clearer definition of this new art form, I compare digital art with other conventional art forms ontologically, and try to distinguish digital art from other art forms by using both traditional and contemporary aesthetic theories. When developing the framework of this essay, Steve Dietz's (2002) article "Ten Dreams of Technology" and Jon Ippolito's (2002) "The Myths of Internet Art" provided important inspirations. Their insights on the impact of computer technology and the development of contemporary visual art offered fundamental starting points to my arguments.
Peter Horvath produces non-interactive, cinematic Internet art works which explore conditions of agency, mobility, and continuous flow, traversing and arguably collapsing notions of the micro and ...macro, near and far. The idea that this sense of movement is random is deemed important here and coalesces I argue, with the Situationist International (SI) concept of the dérive, ‘a technique of transient passage through varied ambiences’ and an idea closely associated with pyschogeographies. Implied within this process is a ‘drift’ which mediates social, creative and conceptual boundaries between the specific locality of the user, the presence of urban markers within the works and the mapless topography of the medium itself.
Ten Myths of Internet Art Ippolito, Jon
Leonardo (Oxford),
01/2002, Volume:
35, Issue:
5
Journal Article
Peer reviewed
This article identifies ten myths about Internet Art, and explains 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 e-mail, 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.
This exploratory case study investigates pedagogical strategies meant to encourage secondary level students to think critically about their perceptions and use of the Internet. This process included ...guiding them in analyzing works of Internet art and introducing them to web authoring in order to create works of art that could be viewed on a web browser. Contrary to my original expectations, students were initially unable to translate their knowledge about the Internet and other art forms into an ability to purposefully explore Internet art. In this article, I describe and reflect upon the adjustments I made in my instructional methods to demystify Internet art for the students. These adjustments enabled them to engage in art criticism and studio production, describe Internet art's aesthetics, and articulate how their attitudes toward Internet art evolved.
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