디지털 이후 예술의 변화를 논의하는 핵심어로 포스트인터넷과 포스트디지털이 전시장에서 주목을 받아왔다. 그러나 이 용어들을 어떻게 구별할 수 있는지가 불분명해 보인다. 본 논문은 포스트인터넷과 포스트디지털 담론을 비교하고, 각각의 담론에서 디지털 이후 예술의 변화에 대해서 논의하는 바를 비판적으로 검토한다. 본 논문은 용어의 출현 이후 확장되어 온 담론들을 ...향하는 것이 아니라, 초기 담론들을 검토하고 나서 ‘포스트’를 접두어로 등장하는 용어들의 배경으로 돌아가 이 용어들에 공통으로 내포된 불안의 징후가 있다고 간주하고 이를 밝혀보고자 한다. 아방가르드적인 실천은 예술을 허구로 만드는 제도적, 기술적 조건들을 폭로한다는 것을 의미했다. 인터넷상의 정보는 오프라인의 현실을 지시하기 때문에 인터넷에서 생산되고 전시되는 예술작품은 허구일 수가 없다. 폭로할 대상이 더 이상 존재하지 않기 때문에 비판적 실천이 공허해진다. 인터넷에서는 벗어날수 있는 바깥이 없고, 인터넷에 부재한 작가는 존재하지 않는 작가이며, 존재하기 위해서는 타자의 시선으로부터 벗어날 수 없는 현실이 포스트를 규정하려는 시도들에 내재된 불안의 실체이다. 디지털 이후 동시대 예술의 변화를 설명함에 있어 유의미하게 포스트라는 접두어가 사용되기 위해서는 작가와 예술작품을 인터넷에 노출된 정보로 국한시키려는 타자들을 무력화하는 예술적 실천들을 더욱 많이 필요로 한다.
Both “Post-Internet” and “Post-Digital” have been keywords to explain the new condition of the art after digital. However, it seems difficult to differentiate the terms. This paper investigates discourses of Post-Internet and Post-Digital. The author regards the attempts to devise new terms starting with post for capturing of current tendencies of contemporary art as a sign of anxieties originated from the production and exhibition of artworks on the Internet. The avant-garde artists have aimed to expose the technological and institutional conditions presenting artworks within the field of fiction. The artworks produced and exhibited on the Internet cannot exist within a fictionalized world because the online information always refers to the offline reality. The critical practices against the Internet cannot be fulfilled. There is no outside which one can escape from the Internet. The authors who are unsearchable and unclickable do not exist in the world. The artists who strive to survive in the constant flow of information cannot escape from the other’s gaze. The anxiety underlying Post-Internet and Post-Digital is caused by the situation that the author as an individual is permanently exposed to others. The effective use of post for indicating of proper changes of contemporary art after digital requires more artistic practices to disturb the surveillance of others.
Network Art Unbound? Pilcher, Jeremy
Leonardo (Oxford),
10/2012, Volume:
45, Issue:
5
Journal Article
Peer reviewed
Internet art that visualizes data has art historical precedents that invite its critical effect to be engaged with as rhetoric and not only an accurate representation of a specific state of affairs. ...Art that opens an engagement with a representation of data as an iteration of an underlying system invites an awareness of the contingency ofthat system. The nature of the internet makes it an effective site for this to occur. Internet art may allow an awareness of how a system might become more ethical in the future.
This new edition of The Photographic Image in Digital Culture explores the condition of photography after some 20 years of remediation and transformation by digital technology.
Through ten especially ...commissioned essays, by some of the leading scholars in the field of contemporary photography studies, a range of key topics are discussed including: the meaning of software in the production of photograph; the nature of networked photographs; the screen as the site of photographic display; the simulation of photography in the videogame; photography, ubiquitous computing and technologies of ambient intelligence; developments in vernacular photography and social media; the photograph and the digital archive; the curation and exhibition of the networked photograph; the dominance of the image bank in commercial and advertising photography; the complexities of citizen photojournalism.
A recurring theme addressed throughout is the nature of 'photography after photography' and the paradoxical nature of the medium in the 21st century; a time when the traditional technology of photography has become defunct while there is more 'photography' than ever.
This is an ideal book for students studying photography and digital media.
Internet art is ephemeral by nature and several initiatives have been taken to preserve it for the future. Apart from formal archives holding art of this kind, there are also artworks which exist ...outside these web based institutions. In what way can they be regarded as archived? In the article, criteria are suggested which can be used to judge whether an artwork is active or archived and these criteria are applied in the analysis of twelve different artworks. Different kinds of dating are important for how the status of a work is perceived by the visitor. The concepts of explicit and implicit archiving are used to characterize archiving of Internet art, where works can be "dead" and "alive" at the same time.
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.
Depuis le milieu des années 1990, le Net art promeut l’émergence d’œuvres qui bousculent les relations entre art et société. Résultat d’une co-élaboration entre artistes, informaticiens et ...internautes, la mise en œuvre du Net art hybride de manière inédite le travail artistique, l’expertise technologique et l’expérience de plus en plus inventive de collectifs amateurs. Ce contexte de création collective, reposant sur des modes d’interactivité technique et des formes spécifiques d’interaction sociale, conduit à une redéfinition de la figure et des fonctions d’auteur traditionnellement à l’œuvre dans les mondes de l’art.
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