2. •
“Internet art” has been around as long as long as the Internet itself. A renegade thing, it’s always on the
edge of new technology, with its medium functioning as its own platform. GIFs, CAPTCHA codes, found
imagery, experimental social networks — the manifestations and run-off of our daily online experience is
all ripe fodder for the net artist.
•
The term "net.art" is also used as a synonym for net art or Internet art and covers a much wider range of
artistic practices. In this wider definition, net.art means art that uses the Internet as its medium and that
cannot be experienced in any other way. Often net.art has the Internet as (part of) its subject matter but
this is certainly not required.
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3. •
Web 2.0 = the era of sharing and collaboration
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5. jodi
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Jodi, or jodi.org, is a collective of two internet artists: Joan Heemskerk and Dirk Paesmans . Their
background is in photography and video art; since the mid-1990s they started to create original artworks
for the World Wide Web. A few years later, they also turned to software and artistic computer game
modification.
•
http://wwwwwwwww.jodi.org - the website that caused Jodi's uproar in popularity with contemporary
art.
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6. Characteristics
•
•
•
•
•
•
Have access to them on a website
Critique of Musuems and Galleries
Free + Open 24/7
Against the perfect commercial looking aesthetic
Interactive + Participatory
Growing through and with the hacker culture (4chan)
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8. Net Art + Post-Internet
Mark Tribe (b. 1966) to a question about postinternet art for an interview that was published in Art in America in September:
Internet art was a movement that arose in 1994 and waned in the early
2000s. Post-Internet artists stand on the shoulders of Net art giants like
Olia Lialina,Vuk Cosic, and JODI, not in order to lift themselves higher into
the thin atmosphere of pure online presence but rather to crush the past
and reassemble the fragments in strange on/offline hybrid forms.
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9. •
•
to both celebrate and critique the internet
•
•
art influenced by the internet.
•
their artistic and philosophical practice so deeply rooted in our
common Internet experience...
internet art can no longer be distinguished as strictly computer/
internet based, but rather, can be identified as any type of art that is in
some way influenced by the internet and digital media.’
"Artists after the Internet thus take on a role more closely aligned to
that of the interpreter, transcriber, narrator, curator, architect."
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11. URL as creative form
http://www.johannes-p-osterhoff.com/agatha/makes_stupid_things.html
http://www.tema.ru/agatha/has_no_idea.html
http://www.irational.org/agatha/wants_to_teleport.html
http://www.tobi-x.com/agatha/teleports_and_teleports.html
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12. Aesthetic + New Aesthetic
•
They present us with constellations of uncannily decisive moments,
images made perfect by their imperfections, images that add up to
portraits of the web, diaristic photo essays on the part of the surfer,
and images that certainly add up to something greater than the sum of
their parts.Taken out of circulation and repurposed, they are ascribed
with new value
•
the blending of digital collage with digital painting in 2D prints, videos,
or sculptural objects, and the appropriation or adoption of glossy
commercial aesthetics, images, and products.
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13. So what does “post-internet” really
mean?
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14. •
I felt what I was making was ‘art after the internet.’ Pressed for an explanation, at the panel, I said that
both my online and offline work was after the internet in the sense that ‘after’ can mean both ‘in the style
of ’ and ‘following.’ For illustration, I referred to the concept of postmodernity coming not at the end of
modernity, but after (and with a critical awareness of) modernity.
•
postinternet situation as one in which ‘the internet is less a novelty and more a banality,’ a presence that is
now a given; a generally less phenom- enal phenomenon.
•
a result of the contemporary moment: inherently informed by ubiquitous authorship, the development of
attention as currency, the collapse of physical space in networked culture, and the infinite reproducibility
and mutability of digital materials.’
•
a critical awareness
•
conspicuous consumption
•
during, during, during, during.
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15. Postinternet stances assume that the creation,
distribution, and reception of the work of art have all
been reconfigured by network technologies. Perhaps
unfortunately, postinternet art has come to be
associated with certain techniques and styles more
than any particular critical position.
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