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.
Art in the informational mode Nalder, G.
Proceedings on Seventh International Conference on Information Visualization, 2003. IV 2003,
2003
Conference Proceeding
Open access
We provide a brief overview of significant developments in new media arts practice and theory during the period 1996-2001. It draws from a Web-based hypermedia doctoral dissertation entitled ...'realising the virtual: the Internet as a space for transformatory art practice' which incorporates creative works undertaken as research and praxis. The dissertation addressed the question of the potential of Internet-based new media arts practice, as a form of cultural activism, to effect positive social change. We trace shifts in art's orientation, through computer and telecommunications mediation, from that of 'a work' to that of 'media' (from materiality to temporality); and in its operational mode, from that of the televisual to the telematic (from vision at a distance to data-banking at a distance). A key focus is the evolution of a new genre, 'netArt', the basis for which is critical engagement 'in the mode of information' Poster, M., (1990).
The space and time are two aspects that a new media object as a newly constructed communication model (by means of information technologies) reconfigures in each of its instances. The paper shows the ...different space and time forms in the new media art works by Narvika Bovcon and Ales Vaupotic: VideoSpace, Friedhof Laguna, Mouseion Serapeion, S.O.L.A.R.I.S., To Brecknock, while my fearful head is on, If you look back, it wonpsilat be there anymore (on the Data Dune platform).
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