scholarly journals Post-Digital, Post-Internet Art and Education

2021 ◽  
Keyword(s):  
Internet Art

Lateral Thinking and Learning in Arts Education in the Post-Internet Art

2021 ◽  
Author(s):  
Lynda Avendaño Santana
Keyword(s):  
New Technologies ◽  
Virtual Space ◽  
Self Awareness ◽  
Social Nature ◽  
The Arts ◽  
Internet Art ◽  
Creative Experience ◽  
New Type ◽  
Lateral Thinking ◽  
Relationship Of

Lateral learning in the last two decades can be seen in peer-to-peer learning that is being promoted by new technologies where there are apps that allow students to work together in real time through virtual space, a method which thereby shifts the focus from the solitary self to the interdependent group which lives an educational experience of a collaborative and distributed nature, whose focus lies in instilling the principle of the social nature of knowledge. The ideological bases of lateral thinking are sustained by issues such as emancipation of the student from the authority of the teacher, the relationship of collaboration, permitting the development of individual appreciations and ideas, based simultaneously on those of their peers, on the democratization of knowledge, and so on, which ultimately refers to a collaborative creative education, to a democratic education, and to an education for democracy that assumes the new technologized context in which we live. Because of this, lateral thinking is increasingly influencing everyday life and areas such as education and the arts, as it happens in the post-Internet art, and more specifically net.art (i.e., an online art), which is a collaborative creative experience that has become an instrument which allows us to see a “new type of art in the 21st century.” Net.art, Internet art and the most experimental design, therefore constitutes a community experience that hypertextualizes computerized languages and generates poetic perspectives as artistic practices of lateral thinking. It has bestowed upon us a series of mechanisms to devise collaborative development strategies for lateral learning based on those creative ludic educational experiences of using and interacting with new technologies. This is essential to bear in mind because, as Jeremy Rifkin says, collaborative learning helps students to expand their own self-awareness, including their “self” in reference to diverse “others,” and promotes in-depth participation in more interdependent communities. It extends the territory comprised within the boundaries of empathy.

scholarly journals Broken promises of Internet and democracy: Internet art in Serbia, 1996–2014

2019 ◽  
Vol 41 (6) ◽  
pp. 889-900
Author(s):  
Nina Mihaljinac ◽  
Vera Mevorah
Keyword(s):  
Cultural Practices ◽  
Point Of View ◽  
Internet Technology ◽  
The Internet ◽  
Internet Art ◽  
Art And Culture ◽  
Mixed Feelings ◽  
Phases Of Development ◽  
Democratic Principles ◽  
Internet Revolution

The article uses case studies of artistic and cultural practices on Internet in Serbia (1996–2014) to provide a deeper analysis of possible uses of internet technology and internet art for social and political change as well as showcasing changing attitudes toward the internet in a transitional semi-periphery state. Through analyzing these questions, the article defines several phases of development of internet and art projects in Serbia including (a) the phase of techno-utopia when internet technology was used for staging and supporting student protests and the so-called first ‘internet revolution’ in Serbia (1996–1999); (b) the phase of ambivalence or ‘mixed feelings’ toward the Internet, triggered of by Kosovo War and North Atlantic Treaty Organization (NATO)-led bombing of 1999–2000; (c) the phase of optimism and hope about the Internet after the ‘October 5th’ revolution (2000–cc. 2005); and (d) the phase of disillusionment with both the Internet and democracy (2010–2014). This study re-evaluates early achievements and democratic principles of networked society and illuminates core issues and accomplishments of cyberculture from the 1990s until present times through the point of view of multiple actors present within Serbian art and culture.

Fred Forest's Utopia

2017 ◽  
Author(s):  
Michael F. Leruth
Keyword(s):  
Contemporary Art ◽  
Second Life ◽  
Video Art ◽  
Art World ◽  
Marshall Mcluhan ◽  
Modus Operandi ◽  
Interactive Communication ◽  
Wide Range ◽  
Internet Art ◽  
The 1960S

This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.

Afro cyber resistance: South African Internet art

2014 ◽  
Vol 12 (2) ◽  
pp. 185-196 ◽  
Author(s):  
Tabita Rezaire
Keyword(s):  
South African ◽  
Internet Art

Reseau/Resonance: Connective Processes and Artistic Practice

Leonardo ◽  
2004 ◽  
Vol 37 (4) ◽  
pp. 280-286 ◽  
Author(s):  
Andreas Broeckmann
Keyword(s):  
Artistic Practice ◽  
Electronic Networks ◽  
Art Practices ◽  
Performative Space ◽  
Internet Art ◽  
Exchange Data

Most Internet art projects use the Net solely as a telematic and telecommunicative transmission medium that connects computers and servers and through which artists, performers and users exchange data, communicate and collaboratively create files and events. At the same time, however, some artists are exploring the electronic networks as specific socio-technical structures with their respective forms of social and machinic agency, in which people and machines interact in ways unique to this environment. The author discusses recent projects that use the Net as a performative space of social and aesthetic resonance in which notions of subjectivity, action and production are being articulated and reassessed. This text discusses the notion of “resonance” in order to think through these approaches to network-based art practices.

scholarly journals INTERNET ART AS A SPECIFIC ART OF THE WEB

2017 ◽  
Vol 7 (2) ◽  
pp. 349-363
Author(s):  
İlker BERKMAN ◽  
Didem Çarıkçı WONG ◽  
Muammer BOZKURT
Keyword(s):  
Internet Art ◽  
The Web

scholarly journals Moroccan Facebook Visual Narratives and Cultural Production

2019 ◽  
Vol 5 (1) ◽  
pp. 45-51
Author(s):  
Driss Faddouli
Keyword(s):  
Popular Culture ◽  
Everyday Life ◽  
Cultural Production ◽  
Meaning Making ◽  
The Internet ◽  
Power Dynamics ◽  
Visual Narratives ◽  
Praxis I ◽  
Internet Art ◽  
The Creation

In this paper, I argue that the creation and circulation of the visual narratives within Facebook groups by Moroccan Facebookers largely entail and substantiate a stronger process of cultural production that has its own logic and praxis. I argue that this process of cultural production has two major facets: an aestheticization of everyday life and promulgation of specific modes of consciousness. Through the aestheticization of everyday life, I posit that Moroccan youth’s acts of cultural production increasingly blur the formal boundaries between the Internet, art, and popular culture; an aspect which fundamentally empowers their creative online input. Through the promulgation of specific modes of consciousness, I argue that the visual narratives attempt to develop and enhance the cultural sensibilities which better champion their perceptions and stances. Taken together, I claim that these major manifestations of the process of cultural production, while being deeply wedded to the Gramscian and Foucauldian perception of power dynamics, set the tone for an underlying struggle over power and meaning-making in the Moroccan society, thus seeking to intervene and exploit the gaps and contradictions in these power dynamics in society.

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