23. http://www.netpioneers.info/node/4
Early net-based art (also known as Internet art, net art, net.art or webbased art) is presented in this
book as evidence of a pivotal moment in digital culture. As document of a paradigm shift in media
society in general, its importance goes far beyond art history. Yet the framework of art history alone
can provide the basis for understanding the context, ideas, and concepts behind the works. They
were created in response to a specific setting in the art world of the early 1990s. A historical view
must therefore maintain this context, although the works are also significant in that they
simultaneously testify to the development of the socio-technical media:
Theory of the Avantgarde in the Age of the Internet
Contextualisation of net-based Art
Digital Source Criticism and Archive-Theory
Methodological Analysis.
Contributions by Anna Bentkofska-Kafel, Dieter Daniels, Wolfgang Ernst, Verena Kuni, Barbara
London, Christiane Paul, Gunther Reisinger, Marc Ries, Robert Sakrowski and Julian Stallabrass.
Dieter Daniels / Gunther Reisinger (eds.), netpioneers 1.0 - contextualising early net-based art,
Berlin-New York: Sternberg Press 2010
rozhovory: http://www.netpioneers.info/node/45
30. LAIMONAS ZAKAS aka Glitchr
(since 2011)
https://www.facebook.com/glitchr
http://glitchr.tumblr.com/
https://twitter.com/glitchr_
social media interventionist
Horse, Gallery On-line: http://gallery0nline.wordpress.com/
Doc: https://www.youtube.com/watch?feature=player_embedded&v=ohfbmLmq1ag
http://laimonaszakas.com/
31. My first impression while visiting the exhibition is quite pessimistic. I feel that the show has distorted the
project completely, not adding to it any additional meaning but, on the contrary, reducing it to cheap internet
graphics. That's because Glitchr activates its meaning only on the web, as it is tied both ideologically and
aesthetically to the very same platforms whose interfaces it distorts – Facebook, Twitter, Google and so on.
Juste Kostikovaite, 29/08/2012
http://www.arterritory.com/en/texts/reviews/1456-who_plays_with_facebook/
33. 1) Net art – today. Is there such a thing? Martin suggested in the annotation to this lecture terms like
Post internet art or Internet Aware Art or whatever. How does this differ from what we were talking
about since 3 o’clock?
Let’s suggest for those complicated, unclear and argued about questions some simple answer.
34. INTERNET OF OUR DREAMS
http://anthonyantonellis.com/iood/
Jeremy Bailey: 01:26-01:48
7:11-08:00 (contacts interactions changed – anybody’s using internet right now)
not individual piece, everything I do on the internet is a performance
36. WEB ARTISTS 2.0, WEB 2.0 GENERATION
1997:(Doccumenta in Kasel)
?: How many hours do you spend online per day?
Dirk Paesmans: Not many. Maybe half an hour.
2010: I usually say that we never disconnect. (Kohout)
We, the web kids
Piotr Czerski: „We, The Web Kids“ (2012)
http://pastebin.com/0xXV8k7k
http://translate.google.cz/#auto/cs/We%20grew%20up%20with%20the%20Internet%20and%20on%
20the%20Internet.%20This%20is%20what%20makes%20us%20different%3B%20this%20is%20wh
at%20makes%20the%20crucial%2C%20although%20surprising%20from%20your%20point%20of%
20view%2C%20difference%3A%20we%20do%20not%20%E2%80%98surf%E2%80%99%20and%
20the%20internet%20to%20us%20is%20not%20a%20%E2%80%98place%E2%80%99%20or%20
%E2%80%98virtual%20space%E2%80%99.%20The%20Internet%20to%20us%20is%20not%20so
mething%20external%20to%20reality%20but%20a%20part%20of%20it%3A%20an%20invisible%2
0yet%20constantly%20present%20layer%20intertwined%20with%20the%20physical%20environme
nt.%20We%20do%20not%20use%20the%20Internet%2C%20we%20live%20on%20the%20Internet
%20and%20along%20it.%20If%20we%20were%20to%20tell%20our%20bildnungsroman%20to%2
0you%2C%20the%20analog%2C%20we%20could%20say%20there%20was%20a%20natural%20In
ternet%20aspect%20to%20every%20single%20experience%20that%20has%20shaped%20us.%0A%
0A...%0A%0ATechnologies%20appear%20and%20then%20dissolve%20in%20the%20peripheries%
2C%20websites%20are%20built%2C%20they%20bloom%20and%20then%20pass%20away%2C%
20but%20the%20Web%20continues%2C%20because%20we%20are%20the%20Web%3B%20we%
2C%20communicating%20with%20one%20another%20in%20a%20way%20that%20comes%20natu
rally%20to%20us%2C%20more%20intense%20and%20more%20efficient%20than%20ever%20bef
ore%20in%20the%20history%20of%20mankind.
37. 1)
We grew up with the Internet and on the Internet. This is what makes us different; this
is what makes the crucial, although surprising from your point of view, difference: we
do not ‘surf’ and the internet to us is not a ‘place’ or ‘virtual space’. The Internet
to us is not something external to reality but a part of it: an invisible yet constantly
present layer intertwined with the physical environment. We do not use the Internet, we
live on the Internet and along it. If we were to tell our buildings roman to you, the
analogue, we could say there was a natural Internet aspect to every single experience
that has shaped us.
...
Technologies appear and then dissolve in the peripheries, websites are built, they bloom
and then pass away, but the Web continues, because we are the Web; we, communicating
with one another in a way that comes naturally to us, more intense and more efficient
than ever before in the history of mankind.
...
Brought up on the Web we think differently.
38. McLUHAN, Marshall. Gutenberg Gallaxy. The Making of Typographic Man. Routledge & Kegan
Paul, London 1967.
Harold Innis: The Bias of Communication. University of Toronto Press, Toronto 1951.
BRIGGS, Asa – BURKE, Peter. A Social History of the Media. From Gutenberg to the Internet.
Polity Press, 2005.
New Media Lecture Series – Martin Kohout. (YouTube video). 28. 11. 2011 [online]. [qvt. 2012-
07-06]. Accessible from z WWW:
<http://www.youtube.com/watch?feature=player_embedded&v=jkktjMCo84E>
ONG, Walter J., Orality and Literacy: the Technologizing of the Word. Methuen, London 1982.
Global Internet User Survey 2012: Key 2012 foundings
http://www.internetsociety.org/surveyexplorer/key_findings
43. POST INTERNET
- all art that engages with the Internet // not only internet-based art
-
C gallery
Future Gallery, Berlin ► http://futuregallery.org/ // exh. Dullaart
Headquarters, Zurich ► http://theheadquarters.org/ Karem Lofty
Prague: (Post-Internet):
Futura
AM Collective
Polansky Gallery: Driving Fast Nowhere, http://www.ceskatelevize.cz/ivysilani/10123096165-
artmix/213562229000010/titulky/#t=48m17s (48:17 – in Czech only :(
PLEVEL
44. THE HEADQUARTERS: http://theheadquarters.org/
Zurich, Adam Cruces [specific exhibition format; just opening + on-line, budget]
„DUAL SITES“
Brad Troemel: Free Art (https://vimeo.com/21538426; 14:00 )
- run usually by art school graduates, their places, small attendance IRL, huge following on-line, not
for profit
- physical & digital co-mingling
48. Anthony Antonellis – [video] – Net Art Implant, autumn 2013 –
http://anthonyantonellis.com/works
Net Artist RFID Implant
Anthony Antonellis has an RFID implanted in his hand to distribute his artwork via NFC (Near
Field Communication)
http://www.anthonyantonellis.com/news-post/item/670-net-art-implant
http://animalnewyork.com/2013/watch-artist-implant-a-net-art-rfid-chip-into-his-hand/
https://soundcloud.com/bbc-world-service/bodyart
49. Arjun Ram Srivatsa Anthony Antonellis
Internet of Our Dreams – IRL solo show, Transfer Gallery NYC
http://transfergallery.com/exhibitions/2014/03/anthony-antonellis/
Internet of my dreams is an exhibition that deals in collapsed dichotomies: digital and physical, conscious
and unconscious. It is an exhibition of paintings rooted in digital wanderlust, of movement dreamed and
quantified.
Using an EEG neuroheadset, Antonellis has produced a new series of digital images based on brainwave
recordings of spatial movements experienced within a dream. These source images — the result of data
captured and communicated by a brain–computer interface — serve as the basis for a series of paintings
and moving images.
Internet of my dreams is Anthony Antonellis’ first solo exhibition in the United States. This new body of
work locates Antonellis’ practice squarely within the intersection of ubiquitous data and the ineffably
human.
digital discussion: http://anthonyantonellis.com/iood/
60. Constant Dullaart: YouTube as a Sculpture (moulding), 2013
8 moulding patterns, paint. Dimensions variable
[installation view, Future Gallery, Berlin]
61.
62. What We Call Sculpture. Group show at CERMÂ
CERMÂ offers a platform for both virtual and real art, and analyzes
the relationships and differences between these two poles. It uses
architecture visualizations to give us an impression of what abstract
algorithms can create. The line between real and virtual becomes more
and more blurred; one cannot tell anymore whether a piece of art was
shaped by the hands of a human or computer software.
64. DOMENICO QUARANTA
http://domenicoquaranta.com/
QUARANTA, Domenico. In Your Computer. Link Editions.
- Net art = The art of the netizens
- definition by the medium
Landscape studies
BRIAN O’NEIL
TRICIA WANG
Rafael Rozendaal: http://youtu.be/5j_HeQpJE6c
New Media Lecture given by Martin Kohout // Czech ((post)internet) artist (50 min):
https://www.youtube.com/watch?v=jkktjMCo84E&list=FLYvNW7dGMauEE7uXHIKxeTg&index=
15
66. March 2013
This project, which is part discussion and part exhibition, explores the fast evolving artistic
landscape of Tumblr, one of the world’s leading social media and blogging platforms.
The event livestream has been archived
at https://new.livestream.com/tumblr/tumblrarthyperallergic
info + essays -> http://hyperallergic.com/tumblrart/
67. The Wrong – New Digital Art Biennale, Sao Paolo, Brazil (Guilhelme Brandao)
New Digital Art Biennale.
Born in São Paulo.
Made & exhibited worldwide.
Opens November 1st, 2013 – 30. 1. 2014 // again in 2015
http://thewrong.org/the-wrong
info, doccumentation:https://www.facebook.com/thewrongbiennale
https://www.facebook.com/events/671928036158994/
The Wrong Curators leading pavilions: Jodi, Yoshi Sodeoka, Anthony Antonellis, Rollin Leonard, Lorna Mills, Curt
Cloninger, Emilio Gomariz, Eric Mast, Chiara Passa, Max Hattler, A.Bill Miller, Helena Acosta, Peter Rahul, Miyö Van
Stenis, Andrew Benson, Emilie Gervais, Rick Silva, Michaël Borras, Sara Ludy, Ellectra Radikal, Giselle Zatonyl,
Protey Temen, Johann Velit, Michael Staniak, Gerhardt Rubio Swaneck, Cristina Ghetti, Rosa Menkman, Joseph Yølk
Chiocchi, Julia Borges Araña, Guilherme Brandão e David Quiles Guilló.
68.
69.
70. THE COMMODIFICATION OF NET ART
Jennifer Chan: „From Browser to Gallery (and Back): The Commodification of Net Art, 1990–
2011.“
Salon 1 "The Art of Success" with co-presenters Jeff Stark and Zach Blas, Abandon Normal
Devices Festival in Manchester, UK on August 30, 2012.
Slides for a short lecture presentation Jennifer Chan gave on selling internet art (both
commercial and alternative economies).
http://www.slideshare.net/jenninat0r/the-commodification-of-net-art
71. FIRST DIGITAL ART AUCTION
Auction house Phillips, together with Tumblr [social media
blog website]
10. October 2013
text by Jennifer Maloney
„Lindsay Howard, the auction's curator, used a broad
definition of digital art to include works by artists inspired by
the inner workings of computers or the Internet, as well as
those who use the web as a distribution platform. Some of the
works are static images, while others morph on their own, or
change in response to input from the viewer. Still others are
physical objects created or inspired by technology.“
...
An untitled inkjet-printer painting by Wade Guyton fetched $1.1 million at Christie's in February
2013.
72. ”Art Auctions Enter Digital Age” – zprávy - http://live.wsj.com/video/how-do-you-invest-in-digital-
art/9BF2A6BB-55E4-4BEB-AFB8-DC04EE560590.html#!9BF2A6BB-55E4-4BEB-AFB8-
DC04EE560590 (4:35 min)
What happened at the first Phillips digital art auction?
https://www.youtube.com/watch?v=C0ZXqXE8rzo
