Many internet artworks from the mid-1990s to the early 2000s used Adobe Flash technology for creating animated content. However, in the light of recent web standard developments (HTML5), Adobe has ...stopped supporting Flash and its related tools. The removal of Flash has made those net artworks non-functional and unviewable, including Sinae Kim's Genesis (2001), the focus of this study. Recently proposed emulation- and virtualisation-based strategies are not always suitable, particularly if there is a desire to keep the artwork on the 'live web'. This article outlines an alternative method of migration facilitated by reverse engineering techniques-specifically decompilation-and foregrounds the significance of maintaining online access to the obsolete Adobe Shockwave Flash (SWF) files through the source code. On this premise, the source code is re-imagined as a site for further re-enactment, allowing a departure from its current role as a marker of 'authenticity'.
A pesar de que el arte producido en Internet y para los usuarios de la Red no siempre goza de una publicidad y de un reconocimiento merecidos por parte de los canales de comunicación e instituciones ...artísticas hegemónicos, la producción de arte en el ciberespacio se ve fomentada gracias a la creación y desarrollo de residencias artísticas virtuales. Al igual que existen residencias físicas diseminadas por todo el planeta, existen residencias virtuales en los más diversos rincones del ciberespacio. La red social Twitter ha acogido tres programas de residencias en su seno con un alto grado de innovación y experimentación de los que apenas existe difusión. La presente investigación pretende ahondar en este territorio inexplorado ofreciendo un análisis crítico, pionero, de estas iniciativas mediante su presentación, el estudio de las condiciones e implicaciones del espacio de Twitter en el desarrollo de dichas prácticas y el estudio de las experiencias de los agentes implicados (organizadores y artistas participantes) con los que se ha contactado y remitido un cuestionario de preguntas abiertas. El conjunto de conclusiones obtenidas busca, más que confirmar una hipótesis, descubrir nuevas relaciones entre los planteamientos, objetivos, estímulos, posibilidades y desarrollos de estas residencias que deben ser tenidas en consideración tanto para el estudio de las nuevas prácticas artísticas en la red como para encarar el planteamiento y desarrollo de futuras iniciativas similares.
This paper examines the combination of images and objects of exonemo's early internet artworks exhibited in “UN-DEAD-LINK: Reconnecting with Internet Art”, referring to the concepts “Cognizers”, ...“Nonconscious Cognition”, and “Cognitive Assemblages” by N. Katherine Hayles. Although interactions are features of their internet artworks, exonemo removed them to show them in their exhibition. This state makes their artworks look like “corpses” or “remains”. However, exonemo attempted to construct a new relationship between a new manifestation of their work and the viewer. This new presentation of artwork is like the “Cognizers”. Hayles suggests that computers and all living things, including humans, are “Cognizers” that interpret the world and create meanings through three layers of the cognitive process: “Modes of awareness”, “Nonconscious Cognition”, and “Material Processes”. Adjusting their early internet works to the current internet environment as “Cognitive Assemblages”, exonemo modified their work's software and hardware as the “Nonconscious Cognition” and “Material Processes” layer. And then, they recorded the pixel patterns resulting from processing miscellaneous data as “Modes of awareness”. Consequently, exonemo recreated their early internet artworks as “Cognizers” through this modification process.
This open access edited volume provides theoretical, practical, and historical perspectives on art and education in a post-digital, post-internet era. Recently, these terms have been attached to ...artworks, artists, exhibitions, and educational practices that deal with the relationships between online and offline, digital and physical, and material and immaterial. By taking the current socio-technological conditions of the post-digital and the post-internet seriously, contributors challenge fixed narratives and field-specific ownership of these terms, as well as explore their potential and possible shortcomings when discussing art and education. Chapters also recognize historical forebears of digital art and education while critically assessing art, media, and other realms of engagement. This book encourages readers to explore what kind of educational futures might a post-digital, post-internet era engender.
What is “digital rhetoric”? This book aims to answer that question by looking at a number of interrelated histories, as well as evaluating a wide range of methods and practices from fields in the ...humanities, social sciences, and information sciences to determine what might constitute the work and the world of digital rhetoric. The advent of digital and networked communication technologies prompts renewed interest in basic questions such as What counts as a text? and Can traditional rhetoric operate in digital spheres or will it need to be revised? Or will we need to invent new rhetorical practices altogether?
Through examples and consideration of digital rhetoric theories, methods for both researching and making in digital rhetoric fields, and examples of digital rhetoric pedagogy, scholarship, and public performance, this book delivers a broad overview of digital rhetoric. In addition, Douglas Eyman provides historical context by investigating the histories and boundaries that arise from mapping this emerging field and by focusing on the theories that have been taken up and revised by digital rhetoric scholars and practitioners. Both traditional and new methods are examined for the tools they provide that can be used to both study digital rhetoric and to potentially make new forms that draw on digital rhetoric for their persuasive power.
This article explores the idea of Internet search as a technology to underpin artistic creation. Concepts of interactivity in art and music are explored, and then an overview of different types of ...Internet-based art is presented. A number of different ways in which Internet search have the potential to underpin artistic and musical activity are then discussed, with ideas such as the idea of a collective readymade and aesthetics of mass and unexpected connections are used to give this discussion a theoretical basis. Finally, a case study is given, in which the author discusses one of his own multimedia artworks that makes substantial use of Internet search.
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