scholarly journals A Study for the Transition in the Internet Art

2021 ◽  
Vol 50 ◽  
pp. 189-213
Author(s):  
So-Young Choi
Keyword(s):  
The Internet ◽  
Internet Art

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.

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.

scholarly journals New Media Art: Aligning Artistic Creativity And Technological Media

2021 ◽  
Vol 22 (1) ◽  
pp. 206-216
Author(s):  
Cătălin Soreanu
Keyword(s):  
New Media ◽  
The Internet ◽  
Media Art ◽  
Technological Environment ◽  
New Media Art ◽  
Technological Culture ◽  
Art And Technology ◽  
Internet Art ◽  
The Media ◽  
The Relationship

Abstract This article investigates the relationship between art and technology, pointing the constants of a process of cultural digestion which is mediated by the very sovereign technological environment – the Internet. Relying on the multiplicity and hybridization of the content formats, and also on the user involved interactivity as constructive vector-relationships, new media art and the internet art are natural consequences of the artistic practices of creative appropriation of contemporary technological media. As the complexity of the relationship between art and the technological environment becomes richer than ever, we assist to the creation of a contemporary ultra-technological culture, structurally dependent on the media and responsible for relativizing the critical positioning of the art consumer. Defining the premises of the interaction with a technologically interfaced world of art, the user (reader) of the Internet as a medium of expression is – equally – a consumer, and a producer of information (content).

Art and the Internet: some notes on resources and trends

1994 ◽  
Vol 19 (4) ◽  
pp. 10-15 ◽  
Author(s):  
Lorcan Dempsey ◽  
Ann Lennon
Keyword(s):  
World Wide Web ◽  
World Wide ◽  
Fine Art ◽  
Information Resources ◽  
The Internet ◽  
Access To Resources ◽  
Electronic Networks ◽  
Internet Resources ◽  
Internet Art ◽  
Worldwide Network

The Internet is a worldwide network of electronic networks which is growing rapidly. Access to resources is facilitated by a number of ‘systems’, including Gopher and World Wide Web. Improvements in the organisation of and access to Internet resources are certain to be developed, and librarians may have a rok to play. Meanwhile libraries are involved in introducing users to different kinds of information resources including those available on the Internet. Art librarians should be aware in particular of five sites which are useful starting points foi looking at art resources in the Internet: ArtSource, Art Navigator, ArtWorlc Online, World Arts Resources, and Fine Art Forum Online.

Network Art Unbound?

Leonardo ◽  
2012 ◽  
Vol 45 (5) ◽  
pp. 470-471 ◽  
Author(s):  
Jeremy Pilcher
Keyword(s):  
The Internet ◽  
Accurate Representation ◽  
Critical Effect ◽  
The Future ◽  
Internet Art ◽  
State Of Affairs ◽  
Effective Site

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 of that 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.

Ökonomien der sozialen Medien – Bildpolitik und Gemeinschaftsbildung in den digitalen Netzwerken der Gegenwartskunst

2018 ◽  
Vol 81 (4) ◽  
pp. 575-587
Author(s):  
Antje Krause-Wahl
Keyword(s):  
Contemporary Art ◽  
The Internet ◽  
Central Question ◽  
Artistic Practice ◽  
Art And Politics ◽  
Digital Communities ◽  
Central Concern ◽  
Internet Art ◽  
The Relationship ◽  
Visual Cultures

Abstract Following debates on participation and the relationship between art and politics as a central question of contemporary art, this essay discusses networked communities in the visual cultures of ‘Post-Internet Art’. For DIS and Juliana Huxtable digital communities are both the topic of their installations and pictures and part of their artistic activities within the internet: the blog DIS Magazine and the tumblr blog Blue Lip Black Witch-Cunt. In comparing their artistic practice with network-like communication in magazines of the 1970s, the essay argues that it is not a central concern of post-internet art how network images may subvert the economy of images in the net. Rather this kind of art demonstrates the effects of networks, in which participation causes singularity instead of community.

scholarly journals The Amphibian Filmmaker: A new evolutionary species In the time of the Post-truth

2020 ◽  
Author(s):  
Luis Fernando Medina Cardona
Keyword(s):  
New Media ◽  
Scientific Method ◽  
The Internet ◽  
Documentary Films ◽  
New Media Art ◽  
Critical Issues ◽  
Internet Art ◽  
Artistic Vision ◽  
The Subject ◽  
Points Of View

This proposal is an exploration where film and new media art (particularly post-internet art) are approached from a perspective of the so-called post-truth. To do this, it starts from questioning the ideas ofobjectivity and the subject/object pair from two related points of view: how these ideas are interpreted in documentary films and how they play a role in the current scientific method crisis. This serves to give context to the problem of the image as a system of representation in both realms (film and science), and how truth is portrayed particularly in the realm of the technical image, serving to aesthetic and scientific purposes. Having mapped out this epistemological tension, three types of films are briefly discussed - the biopic, the intimate documentary and the false documentary - emphasizing on the latter and presenting it as the direct forerunner of the so-called “fakes” on the Internet. Moreover, the pair truth-objectivity is challenged in favor of false narratives that through humor or irony depict critical issues in a more engaging way. In order to do this, several examples are presented showing how the historical evolution of the single screen of the cinema into the multiple screens of the network society not only hybridizes creators with consumers,but expands with diversity the prior unequivocalness of the objectivity discourse. Finally, the concept of the amphibian filmmaker is posed, as a metaphor of a creator who is able to move on these fuzzy aesthetic territories being faithful to an artistic vision but also to a social and activist ethos.

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