The afterlives of network-based artworks Guez, Emmanuel; Stricot, Morgane; Broye, Lionel ...
Journal of the Institute of Conservation,
05/2017, Volume:
40, Issue:
2
Journal Article
Peer reviewed
Open access
Due to the obsolescence of software programmes, hardware and network infrastructures, many network-based artworks have disappeared. How can we give them an afterlife? A close look at messages within ...an international new media curating mailing list reveals that current theories and practices relating to digital art preservation are extensively based on a comparison with performance art and an immaterialist conception of art. This paper aims to challenge these notions and put forward a suggestion as to what we might call the materiality of 'machinic-writing'. It focusses on the media-archaeological reconstruction of a telematic artwork by Eduardo Kac, his Videotext Poems, to develop the idea of what we call a 'second original' artwork. This second original is a sometimes incomplete duplication of a digital work of art which has either disappeared or is non-functional and achieved by reproducing as closely as possible its original conditions in terms of hardware, software and user experience. Its function is aesthetic, educational and epistemological. This paper aims to show that what is at stake is not so much the work of art's afterlife, since it has 'died', but rather its new archival life.
The essays in Web Writing respond to contemporary debates over the proper role of the Internet in higher education, steering a middle course between polarized attitudes that often dominate the ...conversation. The authors argue for the wise integration of web tools into what the liberal arts does best: writing across the curriculum. All academic disciplines value clear and compelling prose, whether that prose comes in the shape of a persuasive essay, scientific report, or creative expression. The act of writing visually demonstrates how we think in original and critical ways and in ways that are deeper than those that can be taught or assessed by a computer. Furthermore, learning to write well requires engaged readers who encourage and challenge us to revise our muddled first drafts and craft more distinctive and informed points of view. Indeed, a new generation of web-based tools for authoring, annotating, editing, and publishing can dramatically enrich the writing process, but doing so requires liberal arts educators to rethink why and how we teach this skill, and to question those who blindly call for embracing or rejecting technology.
Blending artist theory, personal memoir, satire, and fictional narratives, a noted net artist constructs a poetics of net art that parallels his practice.
This article addresses the development of an online residency platform Floating Reverie, for artists who work in and around digital media. The particular focus of this article is on the methodology ...used by the curator of the residencies and the artists as a form of networked curation
within a South African creative digital art context.
Critical Media Arts do not only reflect on new technologies and how they transform society, they also offer a crucial laboratory for the development of new techniques and forms of presenting, ...structuring and convey- ing knowledge. The core aims of the project »Artistic Technology Research«, presented and reflected in this article, are to stress the critical discourse in (and about) new media, technology, society and its intersections to art/creativity/design. The term »Artistic Technology Research« is seen as a vehicle for creating new actions, interactions and interventions that demonstrate critical views, visualizing and re-structuring our 'Lebenswelt'.
Critical Media Arts do not only reflect on new technologies and how they transform society, they also offer a crucial laboratory for the development of new techniques and forms of presenting, ...structuring and convey- ing knowledge. The core aims of the project »Artistic Technology Research«, presented and reflected in this article, are to stress the critical discourse in (and about) new media, technology, society and its intersections to art/creativity/design. The term »Artistic Technology Research« is seen as a vehicle for creating new actions, interactions and interventions that demonstrate critical views, visualizing and re-structuring our 'Lebenswelt'.
Ontological Innovation in Art THOMASSON, AMIE L.
The Journal of aesthetics and art criticism,
05/2010, Volume:
68, Issue:
2
Journal Article
Peer reviewed
Open access
The ontological status of a work of art is fundamentally fixed by its existence. To inquire about the ontological status of an individual work of art, one must have some way of referring to it.
Community garden Graves, Jordan; Magerko, Brian
Proceedings of the 2020 ACM Interaction Design and Children Conference: Extended Abstracts,
06/2020
Conference Proceeding
We present Community Garden, an interactive museum exhibit designed to promote connectedness both at the museum and online. To interact with the exhibit, participants draw and share flower petals ...which are displayed on a communal field, blooming with flowers of other participants. The exhibit's drawing interface is accessed online, allowing for live participation and inclusion of people who cannot physically visit the museum. This paper describes some of the design principles that shaped the development of the exhibit prototype, as well as the technology that allows the exhibit to function, requirements for demonstrating, and future plans to evaluate the exhibit.
2010년을 전후한 동시대 인터넷 미디어 환경에서 유발된 변화와 문화양식은 포스트인터넷 시대의 도래를 예고했다. 이러한 시대에 ‘인터넷 이후’, 즉 ‘포스트인터넷이란 무엇인가’에 대한 다양한 관점 및 분석이 잇따라 있어 왔지만, 여전히 그 범위와 해석이 광범위하다. 이는 포스트인터넷에 대한 접근이 그간 인터넷에 발현된 환경적 요소뿐 아니라, 그 환경에서 ...딸려온 양태가 파편적이고 혼종적이기 때문이다. 이러한 배경 아래 본 연구는 포스트인터넷의 담론 및 가치를 포스트인터넷 아트 예술가들의 작품 사례를 들어 미시적으로 살펴보며, 포스트인터넷 아트의 미학적 가치를 구체적으로 살펴보는 것에 그 의의와 목적이 있다. 그 연구 방법은 먼저 동시대 예술에서 인터넷이 미치는 영향 및 그 특징에 대하여, 특히 웹 2.0 서비스의 ‘참여· 개방· 분산’적 접근 하에 살펴봤다. 웹 2.0 서비스는 포스트인터넷을 유발한 조건임에 분명한데, 이는 인터넷 이용자 역할을 생산/수용자로 전환시키는 동시에 이들을 유기적인 생산 주체로 변화시켜, 기존의 선형적인 미디어와는 다른 결을 제시했다. 한편 인터넷 계보에서 파생된 다양한 기술적 조건과 변화된 인식 역시 포스트인터넷 아트의 미학에 특이점을 제공한다. 본 연구는 이를 크게 ‘디지털 이미지에 대한 재해석’, ‘인터넷 패러디 문화 및 소셜 미디어 플랫폼의 활용’, 그리고 ‘물리적 공간으로 귀환하는 작품’이라는 세 가지 큰 틀로 살펴보며, 그 구체적 사례들을 설명한다. 이러한 접근을 통해 본 연구는 이들 예술가들이 동시대 인터넷 미디어 환경에 포섭된 상황 뿐만 아니라, 인터넷 안팎을 오가며 어느 정도 반영적이고 성찰적인 관점을 가진다고 본다. 이들 속에서 포스트인터넷 이후의 불안정한 증후에 포섭되지 않고자 지속적으로 포스트인터넷 환경을 사유하는 모습을 읽을 수 있기 때문이다.
Around 2010, the changes and cultural patterns induced in the contemporary Internet media environment heralded the advent of the Post-Internet era. In this era, there have been various approaches to the new perspectives and interpretations of ‘after the Internet’ questioning ‘what is Post-Internet’, but the scopes and analyses of them are still vague. This is because the approach to the Post-Internet is not only the environmental factors expressed on the Internet but also the patterns inherited from the environment that is fragmented and hybrid. Based on this background, this study examines the aesthetic value of Post-Internet Art in detail while looking at the Post-Internet discourse and value microscopically with examples of the works of Post-Internet Art. This study first observes the ‘participatory · openness · disperse’ of Web 2.0 services among the effects and characteristics of the Internet of contemporary art. Web 2.0 services are conditions that triggered Post-Internet. By transforming the role of Internet users into organic production subjects and producers/recipients, Web 2.0 presents a different basis from the existing linear media. On the other hand, various technological conditions and the changed perceptions derived from Internet genealogy provide particular characteristics to the aesthetics of Post-Internet Art. Such characteristics can be examined under the following three frames: ‘reinterpretation of digital images’, ‘utilization of internet parody culture and social media platforms’, and ‘works returned to physical space.’ This study interpreted that the artists hold reflective and introspective perspectives while looking around the Internet and its situation in which they are involved. It is because they have continuously speculated the Post-Internet environment in order not to be covered by the unstable symptoms after Post-Internet.
PDF
