321:, the work published at Telepolis featured American artist and net theorist Mark Amerika's "Amerika Online" columns. These columns satirized the way self-effacing net.artists (himself included) took themselves too seriously. In response, European net.artists impersonated Amerika in faux emails to deconstruct his demystification of the marketing schemes most net.artists employed to achieve art world legitimacy. It was suggested that "the duplicitous dispatches were meant to raise US awareness of electronic artists in Europe, and may even contain an element of jealousy."
387:
284:"We can point to a superficial difference between most net.art and hacking: hackers have an obsession with getting inside other computer systems and having an agency there, whereas the 404 errors in the JTDDS (for example) only engage other systems in an intentionally wrong manner in order to store a 'secret' message in their error logs. It's nice to think of artists as hackers who endeavour to get inside cultural systems and make them do things they were never intended to do: artists as culture hackers.".
210:. The artists involved in net.art experiments are associated with the idea of a "social responsibility" that would answer the idea of democracy as a modern capitalist myth. The Internet, often promoted as the democratic tool par excellence, but largely participating in the rules of vested interests, is targeted by the net.artists who claimed that "a space where you can buy is a space where you can steal, but also where you can distribute". net.artists focus on finding new ways of sharing
351:, in an e-flux article entitled "Jodi's Infrastructure" argues that Jodi's approach to net.art, which involves the very structures that govern coding, is uniquely modernist: the form and content converge in the artwork. The presentation of this process within the art world—whether it should be sold in the market, or shown in the institutional art environment, is problematic for digital works created for the
399:, which acts as a barrier against reproducibility and/or forgery. Lialina claimed that this allowed the buyer of the piece to own it as they wished: controlling the location address as a means of controlling access to the piece. This attempt at giving net.art an economic identity and a legitimation within the art world was questioned even within the net.art sphere, though the project was often understood as a
241:
Alexei
Shulgin and Heath Bunting have played with the structure of advertisement portals by establishing lists of keywords unlikely to be searched for but nonetheless existing on the web as URLs or metadata components: they use this relational data to enmesh paths of navigation in order to create new
65:
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. Typically net.art has the Internet and the
77:- has frequently argued for a "media specificity" of net.art in his writings. According to the introduction to his book "net.art. Materialien zur Netzkunst", the specific qualities of net.art are "connectivity, global reach, multimediality, immateriality, interactivity and egality".
142:
communities through an active practice of web hosting and web art curating. net.artists have defined themselves through an international and networked mode of communication, an interplay of exchanges, collaborative and cooperative work . They have a large presence on several
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or the duo Jodi, with their series of pop-up interventions and browser crashing applets, have engaged the materiality of navigation in their work. Their experiments have given birth to what could be called "browser art", which has been expanded by the
British collective
108:
In 1995, the term "net.art" was used by nettime initiator Pit
Schultz as a title for an exhibition in Berlin in 1995, in which Vuk Cosic and Alexei Shulgin both showed their work. It was later used with regard to the "net.art per se" meeting of artists and theorists in
269:. Questioning and disturbing the browsing experience with hacks, code tricks, faux-code, and faux-virus, critically investigates the context in which they are agents. In turn, the digital environment becomes concerned with its own internal structure. The collective
217:
By questioning structures such as the navigation window and challenging their functionality, net.artists have shown that what is considered to be natural by most
Internet users is actually highly constructed, even controlled, by corporations. Company browsers like
178:. The term "spam art" was coined by net critique and net art practitioner Frederic Madre to describe all such forms of disruptive interventions in mailing-lists, where seemingly nonsensical texts were generated by simple scripts, online forms or typed by hand.
394:
Olia
Lialina has addressed the issue of digital curating via her web platform Teleportacia.org, an online gallery to promote and sell net.art works. Each piece of net.art has its originality protected by a guarantee constituted by its
332:(the first on-line project commissioned by Tate) mirrors the Tate's own website, and offers new images and ideas, collaged from his own experiences, his readings of Tate works, and publicity materials that inform his interest in the
159:, Syndicate and Eyebeam. The identity of the net.artists is defined by both their digital works and their critical involvement in the digital art community, as the polemical discussion led by Olia Lialina that occurred on
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display user-friendly structures (the "navigation", the "exploration" are landmarks of social practices) to provide the user with a familiar environment; net.artists try to break this familiarity. Olia
Lialina, in
125:
in 1997, after Alexei
Shulgin wrote about the origin of the term in a prank mail to the nettime mailinglist. According to Shulgin's mail net.art stemmed from "conjoined phrases in an email bungled by a technical
359:
by Aliona is an early net.art experiment addressing such issues. The WWWArt Award competition initiated by Alexei
Shulgin in 1995 suggests rewarding found Internet works with what he calls an "art feeling."
355:. The web, as marketable as it is, cannot be restricted to the ideological dimensions of the legitimate field of art, the institution of legitimation for art value, that is both ideological and economical .
193:
which analyze emails and reply to them. "Codeworks" is a term coined by poet Alan
Sondheim to define the textual experiments of artists playing with faux-code and non-executable script or mark-up languages.
257:. Greene writes: "The subversion of corporate websites shares a blurry border with hacking and agitprop practices that would become an important field of net art, often referred to as 'tactical media'."
383:), are examples of how to store art-related or documentary data on a website. Cloning, plagiarizing, and collective creation are provided as alternative answers, such as in the Refresh Project.
437:, which existed before the net.art movement, was involved in it, and still exist after it, may show that the fashion scheme of net.art may have forgotten some deep theoretical questions.
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significance within itself, but rather they are exposed to the entire network as a collection of socioeconomic forces and political stances that are not always visible.
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expands the idea of "art hacktivism" by performing interventions and perturbations in the real world, acting on it as on a possible ground for social reengineering.
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movements by writers such as Tilman Baumgärtel, Josephine Bosma, Hans Dieter Huber and Pit Schultz, their individual works have little in common.
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net.artists have actively participated in the debate over the definition of net.art within the context of the art market. net.art promoted the
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The Jodi collective works with the aesthetics of computer errors, which has a lot in common, on both the aesthetic and pragmatic levels, with
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in May 1996, and referred to a group of artists who worked together closely in the first half of the 1990s. These meetings gave birth to the
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really sold a web art project Megatronix to Ljubljana Municipal Museum in May 1999, calling the whole project of selling the net.art.trade.
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Many of these net.art interventions also tackled the issue of art as business and investigated mainstream cultural institutions such as the
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can be intentionally good and positive when they are repurposed for large-scale ephemeral art that uses the whole Internet as a canvas.
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101:) movements. The avant-pop movement particularly became widely recognized in Internet circles from 1993, largely via the popular
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Chronologie historique résumée d'échanges artistiques par télécommunications. Les précurseurs, jusqu'en 1995, avant l'Internet
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Teleportacia.org became an ambiguous experiment on the notion of originality in the age of extreme digital reproduction and
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Baranski Sandrine, La musique en réseau, une musique de la complexité ?, Éditions universitaires européennes, 2010
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89:. As such, net.art is more of a movement and a critical and political landmark in Internet art history, than a specific
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net.art developed in a context of cultural crisis in Eastern Europe in the beginning of the 1990s after the end of the
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expands the idea of "art hacktivism" by performing code interventions and perturbations in art festivals such as the
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Weibel, P & Druckrey, T eds. (2001). net_condition. art and global media. Cambridge, Mass.: MIT Press. p. 25.
295:. This deep technical repurposing for the sake of enchantment and fun can be considered as a net.art performance.
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capitalism, the first series of critical columns appeared in German and English in the online publication
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Baumgärtel, T. (1999). net.art. Materialien zur Netzkunst. Nürnberg: Verlag für moderne Kunst. p. 15.
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Bosma, J. (2011). Nettitudes. Let's Talk Net Art. Rotterdam: NAiPublishers, 2011. Print. p.148.
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website "commemorating" the event. The term "net.art" has been wrongly attributed to artist
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readable texts . The user is not exploring one art website that has its own meaning and
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specific socio-culture that it spawned as its subject matter but this is not required.
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A connection can be made to the e-mail interventions of "Codeworks" artists such as
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During the heyday of net.art developments, particularly during the rise of global
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414:. The guarantee of originality protected by the URL was quickly challenged by
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922: : CRONOLOGIA DE EXPERIÊNCIAS ARTÍSTICAS NAS REDES DE TELECOMUNICAÇÕES (
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The net.art movement arose in the context of the wider development of
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My boyfriend came back from the war. After dinner they left us alone.
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is another example of Olia Lialina's attempt to deal with the issue.
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93:. Early precursors of the net.art movement include the international
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130:(a morass of alphanumeric junk, its only legible term 'net.art')".
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Prácticas artĂsticas e Internet en la Ă©poca de las redes sociales
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A call to finance the mobile version of the Poietic Generator
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in early 2006 on the "New Media" Knowledge (XXG) entry shows
328:. Harwood, a member of the Mongrel collective, in his work
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810:"Jodi's Infrastructure - Journal #74 June 2016 - e-flux"
347:, as opposed to a conception of art as object making .
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A networking expert hacked into DNS servers to have the
54:, and Rachel Baker. Although this group was formed as a
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History of Computer Art, chap. VI.3 Net Art in the Web
704:"Traceroute reveals Star Wars Episode IV 'crawl' text"
986:, PUF, collection « Lignes d'art », 2006.
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A Screenshot of Teo Spiller's net.art net.art.trade
422:, cloned the content and produced an unauthorized
583:(reproduction of event listing, on Ljudmila.org)
433:Online social networks experiments, such as the
945:art en ligne · art en réseau · art en mouvement
943:Musée Royal de Mariemont, Belgium, 1999 :
880:"There May Be Money in Internet Art After All"
170:developed a particular form of e-mail art, or
8:
957:BREAK21 festival - Ljubljana, Slovenia, 2000
776:War of the Words: Ersatz E-Mail Tilts at Art
521:. In Bailey, Chris; Gardiner, Hazel (eds.).
496:. University of Arizona Press. p. 294.
493:Modern Mexican Culture: Critical Foundations
73:- building on the ideas of American critic
249:Rachel Greene has associated net.art with
153:Electronic Language International Festival
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591:
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363:Some projects, such as Joachim Schmid's
174:mail art, through text reprocessing and
16:Art that uses the Internet as its medium
969:(KissKissBanBank crowdfunding platform)
601:, Thames & Hudson Ltd, London, 2004
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1012:, Nai010 publishers, Rotterdam, 2011,
238:'s experimental navigator WebStalker.
988:Que sais-je ? L’art contemporain
7:
950:Festival X-00, Lorient, France, 2000
860:"Net Art Market: What Happens Next?"
291:Linux command reveal the history of
277:. On the other hand, the collective
230:My Boyfriend Came Back From The War
955:Théophanie assistée par ordinateur
678:"<eyebeam><blast> 404"
14:
572:"Specific Net.art found possible"
26:who have worked in the medium of
1029:, Editorial AKAL, Madrid, 2012,
97:(Nam June Paik) and avant-pop (
81:History of the net.art movement
990:, PUF, 9eme Ă©dition, mai 2009.
884:The New York Times, 1999-05-13
858:Wright, Richard (1998-08-25).
739:(2): 112–113 – via MUSE.
418:, who, under the pseudonym of
317:. Edited by writer and artist
1:
1056:IASLonline Lessons in NetArt.
1010:Nettitudes Let's Talk Net Art
574:. CNN Interactive. 1989-05-16
343:idea of the work of art as a
836:. 1997-03-14. Archived from
641:Interview by Josephine Bosma
523:Revisualizing Visual Culture
490:Day, Stuart A., ed. (2017).
428:The Last Real Net Art Museum
753:. Telepolis. Archived from
727:Aycock, John (2022-09-15).
1108:
984:Fréquenter les incorporels
525:. Routledge. p. 127.
517:Frost, Charlotte (2016).
305:Critique of the art world
379:(under the pseudonym of
798:Uncomfortable Proximity
729:"Painting the Internet"
452:History of the Internet
416:Eva & Franco Mattes
377:Eva & Franco Mattes
330:Uncomfortable Proximity
138:net.artists have built
117:net.art per se, a fake
656:, site created in 1994
643:, Nettime list archive
630:, Nettime Archive List
391:
198:Tactical media net art
134:Online social networks
403:. On the other hand,
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349:Alexander R. Galloway
52:Daniel GarcĂa AndĂşjar
22:refers to a group of
1025:MartĂn Prada, Juan,
1004:La musique en réseau
420:0100101110101101.org
381:0100101110101101.org
271:0100101110101101.org
206:and the fall of the
1008:Bosma, Josephine,
708:www.theregister.com
929:2009-04-25 at the
914:2013-10-18 at the
900:2013-10-18 at the
781:2007-09-30 at the
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220:Netscape Navigator
69:The German critic
1035:978-84-460-3517-6
1018:978-90-5662-800-0
702:Sharwood, Simon.
532:978-1-317-06349-0
503:978-0-8165-3753-2
435:Poietic Generator
224:Internet Explorer
166:net.artists like
151:, File festival,
75:Clement Greenberg
71:Tilman Baumgärtel
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878:Mirapaul, M
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863:. Retrieved
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684:. 1998-05-01
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599:Internet Art
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472:Surfing club
457:Internet art
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204:Soviet Union
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99:Mark Amerika
87:Internet art
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44:Olia Lialina
28:Internet art
19:
18:
1077:Net.artists
1050:Munich 2014
895:Don Foresta
626:Lialina, O
405:Teo Spiller
326:Tate Modern
208:Berlin Wall
140:digital art
60:avant garde
1087:Multimedia
1066:Categories
865:2009-03-12
844:2009-03-12
819:2017-03-15
761:2009-03-12
713:2022-02-06
688:2009-03-12
578:2009-03-12
478:References
467:Net-poetry
462:Glitch art
289:traceroute
682:thing.net
652:Madre, F
639:Madre, F
341:modernist
336:website.
315:Telepolis
244:aesthetic
176:ASCII art
123:Vuk Cosic
32:Vuk Ćosić
927:Archived
912:Archived
904: :
898:Archived
779:Archived
733:Leonardo
441:See also
353:Internet
147:such as
36:Jodi.org
369:Hybrids
345:process
311:dot.com
161:Nettime
157:Nettime
149:Rhizome
115:website
111:Trieste
24:artists
20:net.art
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500:
424:mirror
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