scholarly journals Art

2021 ◽  
Vol 14 (27) ◽  
pp. 143-155
Author(s):  
Ilda Monteiro
Keyword(s):  

O presente estudo de natureza teórica visa sobretudo questionar a Internet Art, tendo em conta as hipóteses, estratégias e caraterísticas da expressão artística face ao meio de atuação. Este trabalho pretende demonstrar a correlação entre arte e tecnologia, com destaque a Internet, como meio e espaço de criação artística através da internet art ou net art. A internet art resulta de uma rede de comunicação global e tecnológica, sendo apresentada enquanto meio de criação artística de obras virtuais, interativas e ilusórias. A partir deste enquadramento, são apresentadas e analisadas as características deste meio de comunicação, exemplificado através de várias obras da net art, a forma como os artistas apropriam estas mesmas características nos seus trabalhos, destacando a relação entre meio e prática artística. A arte de internet é, por sua vez, apresentada através de um estudo, cujas características estão direcionadas a tipologias e temáticas no contexto do desenvolvimento de novas possibilidades para a obra, para o artista e para o público. A relação entre a internet, enquanto meio de comunicação tecnológica, e a arte de internet, enquanto expressão artística contemporânea é compreendida através da análise da produção com base nas características que definem a rede. Procura-se, desta forma, destacar a importância da net art no seio da arte contemporânea, promovendo uma nova perspetiva para a compreensão da internet enquanto meio e espaço de criação artística.

2020 ◽  
Vol 16 ◽  
pp. 271-284
Author(s):  
Juan Martín Prada

This article addresses the complex relationship between digital activism and Internet art, from the initial proposals in the 1990s up to the present day. The analysis focuses on those projects that have most impacted the convergence of net art and “net-activism” during this period, with a particular emphasis on the relationship between artistic practice and hacktivism. Likewise, phenomena such as virtual sit-ins, DDOS-based strategies and several others that have emerged in the new context of social networks and participatory online platforms (memes, flash mobs, etc.) are analysed, in order to reflect on the new practices of social media art and their potential for specific critical action.


Author(s):  
Lynda Avendaño Santana

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.


Author(s):  
Katherine Thomson-Jones

Human beings have always made images, and to do so they have developed and refined an enormous range of artistic tools and materials. With the development of digital technology, the ways of making images—whether they are still or moving, 2D or 3D—have evolved at an unprecedented rate. At every stage of image making, artists now face a choice between using analog and using digital tools. Yet a digital image need not look digital; and likewise, a handmade image or traditional photograph need not look analog. If we do not see the artist’s choice between the analog and the digital, what difference can this choice make for our appreciation of images in the digital age? Image in the Making answers this question by accounting for the fundamental distinction between the analog and the digital; by explicating the technological realization of this distinction in image-making practice; and by exploring the creative possibilities that are distinctive of the digital. The case is made for a new kind of appreciation in the digital age. In appreciating the images involved in every digital art form—from digital video installation to net art to digital cinema—there is a basic truth that we cannot ignore: the nature and technology of the digital expands both what an image can be as an image and what an image can be for us.


2019 ◽  
Vol 41 (6) ◽  
pp. 889-900
Author(s):  
Nina Mihaljinac ◽  
Vera Mevorah

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.


Author(s):  
С.М. Михайлов ◽  
◽  
Т.А. Евстратова
Keyword(s):  

Основная задача статьи – выявить особенности, тенденции и новые формы художественного синтеза и в дизайне современного города. В статье рассматриваются возникновение новых форм художественного синтеза в дизайне города в условиях современного постиндустриального общества с его новыми технико-технологическими возможностями, ценностными ориентирами и отношением к предметно-пространственному окружению человека. Выявляются наметившиеся тенденции в области развития традиционных, а также становления новых форм художественного синтеза, основанных на различных видах современного дизайна, светографического, ландшафтного и арт-дизайна, цифрового искусства, net-art и медиа-арта. Полученные результаты позволят утверждать, что наметившиеся тенденции в области художественного синтеза в дизайне города отражают происходящие преобразования городских пространств, повышение их комфортности и художественно-эстетические качеств.


Critique ◽  
2014 ◽  
Vol n° 805 - 806 (6) ◽  
pp. 544
Author(s):  
Jean-Paul Fourmentraux
Keyword(s):  

Ligeia ◽  
2003 ◽  
Vol N°45-48 (1) ◽  
pp. 116
Author(s):  
Reynald Drouhin ◽  
Jean-Paul Fourmentraux
Keyword(s):  

Ligeia ◽  
2020 ◽  
Vol N°181-184 (2) ◽  
pp. 94
Author(s):  
Christine Palmiéri
Keyword(s):  

Ligeia ◽  
2020 ◽  
Vol N°181-184 (2) ◽  
pp. 67
Author(s):  
Ramzi Turki
Keyword(s):  

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