Internet Art

Sanatçılar, 20. Yüzyılda, elektronik teknolojilerin doğuşu ve evrimi sürecinde ortaya çıkan bilgi iletişim teknolojilerini, eserlerini üretmek ve halka sunmak için kullanmaktadırlar.

İnternet teknolojilerinin gelişimiyle, 2004 sonrası ortaya çıkan, sosyal medya platformları kullanılarak sanat eserlerinin üretimi ve halka sunumu olarak açıklanan sosyal medya sanatı, çağdaş sanatın yeni araçlarındandır. Sosyal medya platformlarının dünya çapındaki yaygınlığı, kullanıcı sayılarının büyüklüğü, hızlı, anlık etkileşimlere olanak sağlamasıyla, sanatçılar ve izleyiciler için yeni fırsatlar sunmaktadır.

Bu çalışmada, sanat tarihinde insanın anlatımı üzerine, köklü bir tür olan, portreler ve sanatçıların kişisel portrelerinin, fotoğraflanan portrelere ve selfie’lere dönüşümü üzerinde durulacak, sıradan insanlara ait “gerçek ya da sanal Instagram hesaplarında paylaştıkları fotografik imgeler üzerinden”, sosyal medya sanatının bir parçası olan, Instagram Sanatı’nın insanı kendilerini, yaşamlarını ve kişiliklerini görsel olarak anlattıkları, yeni bir sanat türü olduğu öne sürülecektir. Bu amaçla, Türkiye’de ve farklı ülkelerde yaşayan sıradan insanlara ait, ticari olmayan, ortalama takipçi sayısına sahip hesaplar ve paylaşımları incelenecek, bu paylaşımlar üzerinden, hesapların sahiplerinin gerçek ya da sanal karakterlerini anlatımları incelenecektir.

Este artigo apresenta experiência no contexto universitário que integra ensino, pesquisa e extensão. Discute-se o impacto dos meios digitais no campo das artes visuais em relação à disciplina Laboratório de Arte e Telemática de graduação em Artes Visuais, que inclui carga horária extensionista. O objetivo é pensar a arte na internet na atualidade, posicionando o termo telemática em contexto de pós-internet, termo que aparece com a inevitabilidade da presença das tecnologias digitais e da conexão em nosso cotidiano. O processo de plataformização da rede e seu domínio pelas big tech produziu consequências críticas. Propomos pensar como é possível usar a rede para experimentação e circulação da arte digital, circulando também a produção de conhecimento dentro e fora da universidade. Palavras-chaves: arte digital; internet arte; telemática; plataforma verter; curricularização da extensão.

This paper turns towards a film that you could not have seen and will never see: The Mark of the Brief Night, part of the web-based and installation film project Seances (2016) by Guy Maddin, Evan Johnson, Galen Johnson, and the National Film Board of Canada. Seances generates never-to-be-repeated short films by algorithmically combining scenes from a database of reimagined lost silent-era movies recreated by Maddin.

The uniqueness of The Mark of the Brief Night, emphasised by its imminent loss, highlights the indelible role of the spectatorial process in the actualisation of film as lived phenomenon, at the same time raising questions regarding the virtual (ideal) being of film before and beyond its concrete actualisation. I am arguing that any cultural trace, just like The Mark of the Brief Night, makes sense (where sense is understood both as a vector between the ideal plane and actuality and as a surface effect that denies the identity of the actual with itself) only inasmuch as it becomes part of embodied processes of individuation. Turning towards the role of the other in the dynamic of individuation, the paper proposes that spectatorship constitutes a stringent and much-neglected ethical responsibility in contemporary cultures.

Art made by using and reflecting upon new media and new technologies helps us understand how our lives are being transformed by these very media and technologies -Charlie Gere, "New Media Art and the Gallery in the Digital Age." This paper explores the potentials and perils of the distribution of visual art in the virtual realm. Beginning with a mapping of the interplay between artistic practice and computer technology, I attempt to trace the levels upon which art and the Web have been integrated. After examining early instances of virtual exhibitions of physical art and the potentials that the internet bears as a medium of art experience, I will cover digitally nascent art's structural address of the internet and its medium-specificity. In the light of the recent ubiquity of the participatory internet, there is a move toward developing an understanding of the integrative post-medium practices of post-internet art. Exploring the new role that the artist, artistic practice, and the artwork occupy in relation to the internet serves to trace how the Web affects the distribution of contemporary visual art on an individual and commercial level. Also revealed is the degree to which post-internet and new media practices are not autonomous from conventional art institutions, but actively strive to integrate themselves into the existing economic structures of the art market. With the recent developments of the participatory internet, the so-called Web 2.0, much effort has been made to grasp the effects it has on the production and distribution of visual art. Much of this discussion treats digital art as a new phenomenon. On the contrary, artistic practices using the computer as a production method precede the existence of the internet, dating back to the 1970s. This being said, the osmosis between artwork and computer technology is hardly 4 |

Frida Kahlo's "Self Portrait with Stalin" 1954, has been related to biographical, cultural, and national references. It is examined as an allegory of the artist's troubled personal relationships with political figures; her antagonism towards the Soviet Union leader, Joseph Stalin, her affair with the Marxist revolutionary, Leon Trotsky, who was later assassinated by Stalin, and her in-volvement in the communist party. Moreover, critics have shed light on Kahlo's factual refer-ences, such as her Tehuana dress which is seen as an appreciation for her Mexican heritage and a disguise for her physical problems. In this paper, we try to disregard these conventions; instead, we focus on several hidden premises in the painting, such as power relations (Michel Foucault) and gender problems (Helene Cixous). These concepts are explored through the semiotic reading of the details, including the art artwork's composition, texture, and elements.

If I draw on my humble memory, I could point out that the most significant global mo(nu)ments produced in recent years are mostly acts of destruction, whose memory seems to be embedded, and that remain more present even than what we have understood as traditional monuments. Unforgettable events are etched in memory, such as the fall of the Berlin Wall, the televised demolition of Saddam’s statues, the collective experience of the fall of the Twin Towers in New York, the recent toppling of the Lenin statues in Ukraine, or the attacks on colonial statues in the United States.
All of these point to the monument as a problematic axis of representation of dominant hegemony. They are images of violence against an artifact that itself is also established and instituted from violence. The Iranian artist Siah Armajani stated that it is an anomaly in a democracy to celebrate with monuments. A true democracy should not seek heroes, as it requires every citizen to fully participate in everyday life and contribute to the public good. Numerous contemporary artists have contemplated this issue, and in this article, we will attempt to present some of the possible critiques of both monumental construction and its destruction.

Si el cambio de la sociedad de la información a la sociedad de los medios de acceso a la información había resultado especialmente fructífero para el desarrollo de multitud de vías de media art, las mutaciones que estaban conduciendo hacia la sociedad de los medios personales de acceso y emisión de información se mostraban aun más prometedoras. Muy pronto blogs, plataformas de microblogging, metaversos, redes sociales y los emergentes repositorios colectivos de fotografía y vídeo devinieron nuevos contextos de actuación y exploración crítica para muchos artistas. Era el inicio del social media art, ese conjunto de prácticas artísticas que tomarán las emergentes plataformas participativas de la Web 2.0 como ámbito específico de actuación.

Questo saggio intende esplorare l’impatto dei media digitali sulla comprensione del kitsch e sulla sua relazione con l’arte attraverso il concetto di “kitsch digitale”. Il kitsch digitale è qui inteso come la forma predominante della creatività nei media digitali: una creatività democratizzata ma spesso superficiale, caratterizzata da strumenti che facilitano l’alfabetizzazione visiva ma riducono le strategie d’avanguardia a cliché accessibili e riproducibili. Questo fenomeno comprende una vasta gamma di espressioni, dalle creazioni amatoriali online alla produzione professionale, dalle immagini a bassa risoluzione alla CGI, dagli ambienti virtuali alla grafica generata dall’intelligenza artificiale. Se il kitsch rappresenta un prodotto tipico della modernità, il kitsch digitale incarna l’estetica dominante dell’era postmoderna e postdigitale.

La aparición de los NFT (non fungible token) marcó un antes y un después en la comercialización de bienes digitales. Aunque, en términos informáticos, los NFT son identificadores digitales únicos registrados en una cadena de bloques o blockchain que permiten certificar la propiedad y la autenticidad de un activo digital específico, en el ámbito del coleccionismo digital se suele emplear por extensión la sigla NFT para indicar directamente el bien que está representado por un NFT. Si bien se han señalado diversos antecedentes ya en 2014 (se considera Quantum de Kevin McCoy como la primera obra de arte tokenizada en una cadena de bloques o blockchain2), la fiebre por los NFT no brotará hasta 2016. Uno de los más destacados episodios en la fase inicial de esta ebullición comercial fueron los CryptoPunks, 10.000 personajes punk coleccionables, únicos y de reducido tamaño (24 × 24 píxeles), generados algorítmicamente y puestos en venta en 2017 en la plataforma Ethereum. A lo largo de los siguientes años, la expansión del mercado de NFT fue vertiginosa, en gran medida catalizada por la situación de confinamientos sucesivos ocasionados por la covid-19, durante los que el coleccionismo trató de encontrar en la red y en los bienes digitales su refugio. Como bien señaló Andrew Chow, al finalizar el año 2021, los NFT se habían convertido en una de las primicias informativas más destacadas del año, «abriéndose camino en casi todos los aspectos de la cultura pop, desde la música hasta los deportes y Marvel Entertainment»...

Viviamo in un mondo connesso da reti di comunicazione e voli low
cost, dove la politica parla attraverso i social media, la guerra si fa
con i droni, l’economia si fonda su processi smaterializzati. Ed è per
questo motivo che una produzione artistica non può prescinderne.

This paper discusses the post-internet artist Molly Soda and her almost two
decades of online expression. Soda's artistic practice is participatory, performative, and entangled with the internet. She has created a complex, interdisciplinary body of work that spans multiple online platforms and has been exhibited in galleries across the world. I analyze Molly Soda's performances of "the girl" and girlhood in her art as a case study for
exploring gendered politics on the Internet, the production and circulation of digital girl culture, and the relationship between media practices of self-representation and cultural discourse. My analysis is informed by feminist theories about the relationship between self-representation, gender expression, and the construction of identity online. Therefore, I propose that Molly Soda's artistic practice illustrates Judith Butler’s model of gender performativity as it translates to the online space. I account for self-imaging as a part of a performative media practice that produces the effect of a coherent identity.

The increase of multimedia information over the past few years has led to the creation of mechanisms that enable its organization through descriptions or keywords. A popular way of associating such descriptions to content is tagging. It can be found in popular sites such as Flickr (for images) or Delicious (bookmarks), among many others. The user is free to associate several tags to content, richly describing that content, which may lead to an easier retrieval at a later time. This solves several problems with hierarchical organization ...

Unpublished experimental book draft based on my PhD research. Most of the text is from the PhD thesis, but there are nonetheless numerous essential changes.

Abstract:
Specta(c)torship in Net Art(?): Individuation After Simondon is an experiment at the fringes of academic writing. It draws on a selected corpus of net art(?) works in order to question the experience of embodied subjectivity which coagulates in the context of contemporary internet technology, but also in order to ask: how is it possible to write about this experience in the first place? The embodied process of specta(c)torship can coagulate in writing only as a symptom of its failure and, in order to attend to that which comes to writing from outside representation (and that writing can never fully capture), it is necessary to experiment with the limits of written language.

The book contends that net art(?) specta(c)torship, instead of being an encounter between a predefined subject (the spectator) and a predefined object (the artwork), rather constitutes a process of individuation through which the embodied thinking subject is constructed and deconstructed at the very same time. The text critically engages with Gilbert Simondon’s theory of individuation proposing that, in order to account for the emergence of identity (a is a, a = a), the ontogenetic problematic outlined by Simondon (the becoming of being) has to be complemented by a phenomenogenetic one: the question of genesis of genesis of phenomena (i.e. the genesis of specific ways in which phenomena emerge). Upon this background, the process of specta(c)torship is understood as the problematization of the conjunction between the ontogenetic and phenomenogenetic dimensions of individuation. The specificity of net art(?) specta(c)torship rests upon the type of embodied subjectivity that is problematized and (de)constructed in this process, namely a particular instantiation of the modern 'human' subject contingent on the functioning of contemporary digital objects (the <strike>human</strike> spectator). At the same time, as a consequence of the ontogenetic/phenomenogenetic conjunction, the specific problematic that drives and is driven by net art(?) specta(c)torship (the (de)construction of the <strike>human</strike> embodied subject) is folded back into ontogenesis as the (lack of) origin that grounds the ontogenetic dynamic.

The key for understanding processes of specta(c)torship in this sense is the problematic of phenomenogenesis. Yet, while a theory of phenomenogenesis is stringently necessary, nonetheless, at the same time, phenomenogenesis is from the very beginning a fundamentally self-contradictory concept. Rather than a rigorous philosophical text with a claim to Truth, this book will remain then an experimental fiction, erring in search of the meaning of embodied subjectivity in the context of contemporary digital cultures.

The 1980 comedy The Gods Must Be Crazy explores how an unprepared and unsuspecting society is transformed by the introduction of an alien technology. The slapstick racism of the lm portrays the 'Bushmen of the Kalahari' (the San people) as living in blissful egalitarian symbiosis with themselves and their environment until a glass Coca-Cola bottle falls from the sky (courtesy of an indi erent Western aviator). The object causes sharp schisms among the ctionalized San, introducing heretofore unknown sentiments of want, competition, greed, and scarcity. To save his people, eventually the leader embarks on a journey to throw the bottle o the edge of the world. The lm's dated humor derives from a portrayal of the San's 'ignorant' e orts to use the bottle. They are shown using the Coke bottle in manners Western audiences should nd silly. While the premise is deeply problematic, the idea that introducing an alien technology could rip apart the social fabric of a people is compelling. The ctional San's response to the Coke bottle loosely mirrors the globalized response to the internet. How did it get here? How are we supposed to use it? What's its purpose? Who owns it? And most importantly, is someone laughing at us for using it 'wrong'? The internet is very much an alien technology dropped into the laps of an unprepared people. Can the internet be thrown o the world? Will it shred the social fabric of its users? Is this society's fabric in need of shredding? Along with the disagreeable contours of private property the Coke bottle brings to the San, they are also depicted as privileging di erent aspects of the technology-some appreciate its entertainment value, some its carrying capacity, some seek to weaponize the bottle. The technology introduces multiple new trajectories of perception, as has the internet. Just as the empty Coke bottle is the garbage of an oblivious population, is the internet simply 'someone else's garbage'?

Lev Manovich. Unreliable Memories. Centro de Arte e Cultura, Évora, Portugal, 2024. 140 pages.

Exhibition catalog with images by Lev Manovich and texts by José Alberto Ferreira, Antonio Somani, Manovich.

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Text by exhibition curator José Alberto Ferreira:

Lev Manovich is one of the most influential figures in digital art and culture. As a professor, theorist and historian, he also asserts his positions and exposes his (and our) challenges as an artist. In "Unreliable Memories", Manovich presents works created using artificial intelligence (AI) tools, alongside his original drawings, never before exhibited. The forms (and concerns) of our time are addressed by someone who is intimately familiar with them and who has made significant contributions to their theoretical and critical understanding. Of the seven series of images included in the exhibition, six illustrate the processes involved in the functioning of the AI, which responds to user requests by accessing a vast database of images and information from art history. This generative process uses hundreds or thousands of elements in distinct, unique and often surprising ways. It is not a mechanical process, as the artist must carefully craft his "request" and select the responses that best reflect his vision.

Manovich’s own creative process is even more elaborate. He typically includes a variety of personal and art-historical images, along with a text message as input to the AI, to more precisely control the aesthetics of the results, allowing the AI ​​to generate more surprising results. From thousands of results, he selects only a small number and then refines each image in photo-editing software, often over months. In several of the series presented here, the author’s perspective derives from subtle connections to his biography. Born in Russia in 1960, he presents a very eloquent and also tragic reading of the reality and culture of his country as a series of “unreliable memories”.

The paper maps the use of the principle of randomness in artistic activity with a focus on visual art and the placement of Czech art in the world context. It examines the hypothesis of whether randomness in the hands of the artist becomes an instrument to objectify his or her work and to approach the general principles of the natural world, which, according to the assumption, add novelty and consequently increases its artistic value. The text begins with an etymological interpretation of the concept of randomness, further observes randomness as a phenomenon in various social spheres, and eventually presents the artistic movements and artworks that systematically use randomness. An overview of avant-garde art and abstraction of the first half of the 20th century will allow the author to interpret the principles of randomness used in computer art. The work concludes with a detailed analysis
of Zdeněk Sýkora's work, in which, according to the author, the development line of precomputational art is mirrored, along with a breakthrough in digital tools. The conclusion of the work reveals the diversity of the application of the principle of randomness in the art world and finds a common divisor in the objectivizing function, respectively the rising aesthetic value. Through this interpretation, Zdeněk Sýkora's work is in the context of the world art and extends his interpretation as a computer artist to a complex interpretation with a strong rooting in landscape painting.

Das vorliegende Rahmenkonzept adressiert die Herausforderungen zum Erhalt des digitalen kulturellen Erbes im Land Brandenburg. Es wird ein explizit kulturspartenubergreifender Ansatz vorgestellt, welcher fur alle Institutionen offen sein soll. Das Konzept basiert auf inhaltlicher Ebene auf den Anforderungen der einzelnen Kultursparten im Umgang mit digitalem Kulturgut. Auf der technischen Ebene werden u.a. das OAIS-Referenzmodell und andere etablierte Standards, fur die infrastrukturelle Umsetzung vorausgesetzt. Organisatorisch wird davon ausgegangen, dass die potentiell hunderte von Einrichtungen im Land Brandenburg durch eine regionale Verbundorganisation zusammengefasst und uber eine Ebene der Datenaggregation an ein zentrales Digitale Magazin angebunden werden mussen. Das Konzept enthalt grundsatzliche Aussagen zum digitalen Kulturerbe und digitaler Archivierung. Zudem werden sowohl Beispiele fur Losungsansatze in anderen Bundeslandern vorgestellt, als auch praxisbezogene Beispi...

Today there is nothing in the giant cauldron of the internet that doesn't create an avalanche of memes in response. Considering memes as the result of the use of creativity to express ourselves, our humor, values and generally our understanding of the world, we can say that memes are a kind of digital and personal form of art with the purpose to involve creativity in the selection and manipulation of symbols, images and texts, to convey specific messages or emotions. But, what could be nowadays the relationship between artistic production and memetic aesthetics (the process behind memes creation and the ways in which these engage with and reinterpret

Critical making is an approach to scholarship which combines discursive methods with creative practices. The concept has recently gained traction in the digital humanities, where scholars are looking for ways of integrating making into their research in ways that are inclusive and empowering to marginalized populations. This dissertation explores how digital humanists can engage critical making as a form of activism in electronic literature, specifically in the interactive fiction platform Twine. The author analyzes the making process of her own activist Twine game The Deserters and embeds the project within digital humanities discourses on activism and social justice, hypertext, electronic literature, critical making, and hacker culture. The Deserters is a text-based digital game based on the experiences of the author's family as refugees from East Germany. The player's objective in the game is to research a family's history by searching the gameworld for authentic documents, including biographical writings, journal entries, photographs, and records, thereby retracing historical events through personal experience. The Deserters aims at inspiring a compassionate and empathetic stance towards immigrants and refugees today. The author reflects on the ethical, narrative, aesthetic, and technical choices she made throughout the creation process of The Deserters to create a critical activist game. The results of the analysis demonstrate that Twine offers a unique environment for composing politically impactful personal narratives. From the project, the author derives best practices for activist critical making, which emphasize the importance for makers to imagine the needs and perspectives of their audience. The work expands digital humanities' theoretical and practical toolkit for critical making. <div class="german">[//Ich hatte eine sehr behütete Kindheit und wurde ^^von allen Seiten^^ verwöhnt. Die Schule fiel mir leicht. Als ich 10 Jahre alt war, versuchte mein Schulleiter, meine Mutter zu überreden, mich zu einer höheren Schule zu schicken. Meine Mutter lehnte ab, weil ich es nicht wollte und vor allem Neuen Angst hatte. Bei meiner Entlassung von der Volksschule ^^1939^^ war es ähnlich. Ich sollte eine kostenlose ^^Lehrer^^ausbildung erhalten, aber meine Angst davor war zu groβ u. meine Mutter überlieβ mir die Entscheidung. ~~Ein Bruder meiner Mutter sagte damals zu mir: "Überleg es Dir gut, denn die Nazis geben nichts umsonst."~~ Nach der Volksschule besuchte ich dann noch ein Jahr lang täglich die Volksklasse einer Haushaltsschule und arbeitet dann ab 1940 als Wirtschaftsgehilfin im elterlichen Betrieb.//]</div> 407 408 (link: "Translate to English")[(show: ?english)] 409 410 [<div class="english">"I had a very sheltered childhood and was coddled ^^by everyone around me^^. School was easy for me. When I was ten years old, my headmaster tried to convince my mother to send me to a higher-level school. My mother declined, because I was afraid of all things new and did not want to go. Likewise, when I left elementary school in 1939, I was supposed to receive free ^^teacher^^ training, but my anxiety was too overwhelming and my mother left the decision up to me. ~~One of my mother's brothers said to me: "Choose carefully, nothing's for free with those Nazis."~~ After elementary school I attended a school for housekeeping for a year and worked in my parents' business starting 1940."</div>](english| 411 412 (link-goto: "Open briefcase", "briefcase") 413 (link-goto: "View photograph", "2") 414 (link-goto: "Return to game", $lastPassage

Seit mehr als zwei Jahrzehnten beschäftigt sich der Berliner Medien-und Konzeptkünstler Aram Bartholl mit den gesellschaftlichen Folgen von Digitalisierung und Internet. Dabei hat er sich nie auf ein Medium festlegen lassen: Mit Drucken, Skulpturen, Videos und Installationen, aber auch mit Interventionen im öffentlichen Raum und mit Workshops und Aktionen, die das Publikum einbeziehen, untersucht er die Beziehungen zwischen der digitalen und physischen Welt und behandelt Themen wie Vernetzung, Privatsphäre und Überwachung. Anlässlich seiner spektakulären Einzelausstellung im Kunstverein Osnabrück spricht er über seine Entwicklung als Künstler und über die Prinzipien von Open Source, Hacking und DIY als Inspiration für seine Arbeit. Tilman Baumgärtel: Noch bis Ende Februar haben Sie in der Kunsthalle Osnabrück eine Ausstellung mit dem Titel Ihr Paket ist abholbereit. Dafür haben Sie in die ehemalige Klosterkirche, in der sich die Kunsthalle befindet, unter anderem jede Menge Elektroschrott und eine DHL-Packstation gebracht. Was steckt dahinter? Aram Bartholl: In der Kunsthalle sind jetzt über 25 Tonnen Elektroschrott, die durch das ganze Kirchenschiff in einem Parcours aus Metallkörben sortiert sind. Darüber hängen drei große Kronleuchter aus alten Flachbild-Fernsehern als Skulpturen von der Decke. Und an den Wänden sind fünf große QR-Codes in der Form einer Flamme auftapeziert, die jeweils mit unterschiedlichen Links und Funktionen hinterlegt wurden. Im Zentrum der Ausstellung ist

This paper primarily dwells on graphics created using computers. Computer Graphics could generally be described as graphics created using computers and, more generally, the representation and manipulation of image data by a computer. The development of PAGE 1 computer graphics, or simply referred to as CG, has made computers easier to interact with, and better for understanding and interpreting many types of data. Developments in computer graphics have had a profound impact on many types of media and have revolutionized the animation and video game industry. This paper highlights the History, Advancement and the Future of Computer Graphics as it plays a huge role in our day to day activities. The paper also discusses some common terms often associated with Computer Graphics and tries to explain their various meanings. The future is here, today.

As tecnologias informaticas e os meios audiovisuais tem vindo a caminhar para uma progressiva e dominante utilizacao de interfaces que possibilitam um maior dialogo com o utilizador/espetador. Esta abertura redimensiona a relacao entre obra-autor-publico. A concecao de conteudos audiovisuais tem vindo a mudar e, por seu lado, o papel do espetador tambem sofreu alteracoes, tem vindo a assumir uma postura progressivamente mais ativa na construcao da narrativa. E neste contexto que surge o videoclip Tempo Estado da Banda algarvia Orblua, que servira de pretexto para uma contextualizacao da evolucao da interatividade audiovisual, tendo em conta que os indicios de interatividade, no audiovisual analogico, nomeadamente no cinema, remontam as suas origens. Este artigo procura, portanto, tracar o percurso evolutivo da ideia de interatividade relacionada com a imagem em movimento.

The central provocation of this article is to analyze three artworks that operate by inducing a failure or interruption in the functioning of a certain system. Based on Vilém Flusser's apparatus concept, in dialogue with other authors who also mobilized concepts related to devices, machines, and automata to reflect on society, we argue the existence of a counter-ideological dimension in valuing inoperative as opposed to the logic of efficiency, performance, productivity, and consumption. The works we will discuss cause a short circuit between the apparatus as a machine/ system and the ideological/ cultural apparatus.

A provocação central deste artigo é a análise de três obras artísticas que operam induzindo uma falha, uma interrupção no funcionamento de determinado sistema. A partir do conceito de aparelho de Vilém Flusser, em diálogo com outros autores que também mobilizaram conceitos relacionados a aparelhos, máquinas e autômatos para refletir sobre a sociedade, argumentamos que há uma dimensão contraideológica em valorizar o inoperante em oposição à lógica da eficiência, do desempenho, da produtividade e do consumo. As obras que discutiremos provocam um curto- circuito entre o aparelho enquanto máquina/sistema e o aparelho ideológico/cultural.

A provocação central deste artigo é a análise de três obras artísticas que operam induzindo uma falha, uma interrupção no funcionamento de determinado sistema. A partir do conceito de aparelho de Vilém Flusser, em diálogo com outros autores que também mobilizaram conceitos relacionados a aparelhos, máquinas e autômatos para refletir sobre a sociedade, argumentamos que há uma dimensão contraideológica em valorizar o inoperante em oposição à lógica da eficiência, do desempenho, da produtividade e do consumo. As obras que discutiremos provocam um curto- circuito entre o aparelho enquanto máquina/sistema e o aparelho ideológico/cultural.

What determines the life span of a complex autonomous system? We expect that objects of this kind, which some view as testaments of contemporary culture, will survive into the future. After a few decades of experimentation with data processing and control system engineering, experts in media art conservation have gradually identified methods that promise to overcome these obstacles. Museums and art galleries developed sophisticated procedures to emulate, record or digitize collected objects. The procedures in question create the basis for allographic-inscription-based-presentations of ephemeral media artworks. As a matter of course, the inscription-oriented procedures favor specific qualities of the original item, such as computability, logical coherence or compliance with current documentation practice, such as filmmaking or 3D scanning. We discuss below the characteristics and potential of these qualities in reference to Senster, a specific example of a hardware-based autonomous system. Re:SenSteR Senster merges the concept of kinetic sculpture with the principles of cybernetics (Fig. 1). The large-scale work, created by London-based artist Edward Ihnatowicz, c. 1970, is a classic early example of media art. However, until recently the piece was known exclusively via three minutes of footage and a few archival photos [1]. The work was initially installed at its commissioner's newly opened exhibition hall, the Philips Evoluon, in Eindhoven. Despite its significance, Senster was dismantled in the mid-1970s as the company decided to cease its involvement in this costly and demanding endeavor. Taken out of public view, the piece retreated to the cultural margins, along with many other icons of a short-lived fascination with cybernetics. In 2009, author Olszewska proposed the reactivation project described here, called Re:Senster, as fellows of the newly established Faculty of Humanities at AGH University of Science and Technology in Kraków considered art-related projects appropriate to a technological academy incorporating humanities in its curriculum. Recreation of the historic autonomous system seemed to converge with the idea of networking academics, designers and engineers as a multidisciplinary team within the academy. From its inception, the project's aim was to recreate the experience evoked by an intertwining of the piece's form and movement. The initial plan was to replicate Senster based

This paper presents the analysis of two poles in the spectrum of image creation: the primal drawing process and the coding process in the field of generative design. The reflection upon these design processes is conducted in order to answer the question of how it is possible to overcome individually, socially and culturally determined visual schemata.

Google Maps & Co. als Ausgangsphänomen Die Mission der Firma Google Inc. lautet: «Die Informationen dieser Welt organisieren und allgemein zugänglich und nutzbar machen.» 13 Dieser Leitspruch auf der deutschen Startseite des Unternehmens charakterisiert das Spannungsfeld zwischen der beabsichtigten machtvollen Durchdringung alltäglicher Praktiken von Privatnutzern, «Unternehmen» und «Entwickler[n]» 14 durch den finanzstarken Suchmaschinendienst, der vermeintlichen Demokratisierung des Internets und den konkreten Handlungsfeldern des Gebrauchs, der Informationsbeschaffung oder-verbreitung. Seit seiner Gründung im Jahr 1998 durch Larry Page und Sergey Brin hat sich das Unternehmen stetig gewandelt. Sein Angebot ist umfangreicher geworden und die einzelnen Anwendungssoftwares wurden immer stärker miteinander verknüpft und aufeinander abgestimmt. Anfangs hätten die beiden, so der Gründermythos, in Studentenwohnheimen und in einer Garage gearbeitet, nun gibt es neben dem Hauptsitz Googleplex im kalifornischen Mountain View ein weltweites Netz von Standorten. 15 Bekannt wurde Google zunächst als Internetsuchdienst. Im späteren Verlauf wurde das Angebot stark erweitert: Hinzu kamen spezialisierte Suchmöglichkeiten wie die Bild-und Videosuche, Google Scolar und Google Books, aber auch andere Applikationen wie Gmail, Google+ und viele weitere. Die Arbeit mit personalisierten Daten wurde intensiviert. Antriebsmotoren des Unternehmens mögen seine zehn Grundsätze sein, zu denen neben dem Geldgewinn, «ohne jemandem damit zu schaden», 16 auch die Zielsetzung, dass Tools und Anwendungen so gut funktionieren sollten, «dass man keinen Gedanken daran verschwendet, was man hätte anders machen können», 17 gehört. Google ist im gesamten Untersuchungszeitraum zwischen 2016 und 2021 die mit Abstand meistgenutzte Suchmaschine weltweit. 18 Als Startschuss für Google Maps & Co. gilt die Übernahme der auf die Entwicklung von digitalen Karten spezialisierten Firma Keyhole durch Google Inc. im Jahr 2004. Bereits ein Jahr darauf wurden Google Maps und Google Earth als frei zugängliche Internetplattformen eingeführt und seither stetig erweitert. Google Maps ist der am 8. Februar 2005 gestartete Onlinekarten dienst von Google. Er zeigt interaktive Kartenansichten, Luft-13 Über Google (Web). 14 Produkte und Dienste Unternehmen Google (Web). 15 Googleplex (Web) und Standorte Google (Web). 16 Vgl. Zehn Grundsätze Googles (Web). 17 Vgl. ebd. 18 Statista, Meistgenutzte Suchmaschine (Web). 20 360°-Tools (Web). 21 Street-View-Erfolgsgeschichten (Web). 22 Vgl. Street-View-Beispiele (Web); Street-View-Fahrzeuge (Web); Selber Panoramen erstellen (Web). 23 Google Ocean View (Web). 30 Vgl. den Untertitel von Künzler: Six Days on the Road (2010). 31 Künzler: Six Days on the Road (2010). 34 Digital Humanities Beschrieb (Web). 35 Eigenbeschreibung des Faches (Web). 1 Der Ausdruck «Ideengeschichte» wird hier in Klammern gesetzt, weil in einer Arbeit, die sich am theoretischen Konzept der «Ontologie» orientiert, die Unterscheidung zwischen Wort-verstanden als etwas das sich materialisiert-und Idee-als etwas Körperlosem-widersinnig. Die beiden Begriffe werden aber hier dennoch verwendet, um zu zeigen, dass es das eine Mal um eine Geschichte des Ausdrucks «Spatial Turn» handelt, das andere Mal um eine Geschichte der Beschäftigung mit «Raum».

A partir del año 2004, presenciamos la evolución de un conjunto de prácticas artísticas que, iniciadas con el net.art incipiente a principios de los años noventa, encontrarán nuevos caminos de desarrollo en torno a las nuevas dinámicas sociales y de participación de la web social y de las tecnologías que la hacen posible. En todo caso, el carácter fuertemente crítico e irónico que había caracterizado a aquellas primeras obras del arte de Internet continuará siendo su rasgo más definitorio.

Der Beitrag nähert sich dem Thema Speicherbibliothek aus systematischer Perspektive. Ausgehend von einer Begriffsanalyse arbeitet er fünf verschiedene Typen von Speicherbibliotheken heraus und diskutiert deren Vor-und Nachteile. Am Beispiel der in der Planungsphase stecken gebliebenen Hessischen Speicherbibliothek werden Faktoren aufgezeigt, die den Erfolg oder Misserfolg eines solchen Projektes ausmachen können. Schliesslich geben die Autoren Empfehlungen ab, wie ein Interessenausgleich zwischen den verschiedenen Stakeholdern einer Speicherbibliothek hergestellt und so die Akzeptanz solcher Einrichtungen erhöht werden kann. The following article provides a systematic approach to storage libraries. Starting from an analysis of the terminology, the authors define five types of storage systems and discuss their advantages and disadvantages. Taking the example of the planning phase of the Hessian storage library, the authors elaborate on factors which decide upon success and failure of a project on this scale. To conclude, they propose how diverging interests of different stakeholders can be evened out and how the acceptance of storage facilities can be raised. Cet article offre une approche systématique de la thématique des bibliothèques dépôts. Partant d'une analyse du terme lui-même, cinq types différents de bibliothèques dépôts sont identifiés et comparés. L'exemple de la bibliothèque dépôt du Land de Hesse, dont la réalisation a été suspendue en cours de planification, permet d'identifier les facteurs déterminant le succès ou l'échec de ce genre de projet. Les auteurs formulent des recommandations permettant de trouver un équilibre entre les intérêts des différentes parties prenantes et de développer ainsi le soutien à un projet de bibliothèque dépôt.

The aim of this dissertation is to offer a different perspective for the quality NFTs in terms contemporary art gestures, aesthetics and their side effects that are created by established contemporary artists such as Hirst, Abramovic and Holzer. They have the ability to influence many other artists in this new digital art medium by using their knowledge about contemporary art gestures, Web 3.0 and blockchain. Their goal is to fund new ideas and causes, and to use their talent to start initiatives for decreasing the inequality gap and changing the power structures in the art world between galleries, museum, auction houses and artists. Works of art by these artists that are produced in the last year could help NFT community be forward looking by embedding ideas from contemporary art discourse, protecting the rights of artists, art world participants and funding communities via new technology inside the NFT architecture. This dissertation offers a new perspective, because the existing discourse about NFTs weighs on heavily about their financial value, speculation, and commodification aspects. Until now, gestures coming from contemporary art history and aesthetic values are overlooked such as in the examples of Bored Apes and CryptoPunk NFTs, that prevents the NFTs from being valuable artworks belonging to contemporary art canon. While galleries, museums or collectors are trying to profit on this new era of digital art, some artists from the contemporary art are experimenting with NFTs to challenge NFT space to create works; art historically intellectual, more democratic in the sense of overturning power balances, and aesthetically satisfactory.

Internet has been incorporated into our lives for almost two decades now. Within this time, it has proven itself to be so much more than a new technology for a new machine or "a medium of mediums." Its relation to every aspect of life from a social, political, economic, and cultural perspective makes the Internet the most formative technology we have ever developed. Today, the length and depth of Internet's role in our lives means that the Internet becomes part of our reality. We no longer see our lives with or without the Internet, it simply becomes "life" as "life with the Internet." During these last twenty-five years, Internet artfrom net art, to post-Internet art todayhas been co-evolving in relation and in response to the Internet. As a cultural product of Internet technology, Internet art has been reflecting the multifarious changes we have been experiencing by living with the Internet. Copyright, open-source software, convergence, remix and appropriation culture, mixed-reality, and network sociality are all issues that are being raised and explored by Internet art. This chapter reviews Internet art's evolution along

Tous droits réservés © Revue d'art contemporain ETC inc., 2007 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.

Under the premise of problematizing the initiatives that safeguard the audiovisual culture and its difficulties to endurance, I point out common challenges to audiovisual Latin American Archives in the present, and the answers articulated by some research projects to face them.

/biography 'Digital Art' practice often suggests an over emphasis upon applications rather than objects, reproduction over authenticity. Can 'New Media' be considered within a fine-art framework, or should it be considered as a separate discipline? The cultural shift this represents may blur, remove, or even reinforce boundaries commonly associated with the activity of fine art.

Quale migliore occasione di questa per celebrare una delle operazioni artistiche che, prescindendo dai clamori del sistema, hanno davvero modificato le cose dell'arte? Giusto vent'anni fa due ragazzi di stanza a Bologna, Eva e Franco Mattes, iniziano a promuovere la figura e l'opera di Darko Maver, artista serbo nato a Krupanj nel 1962, isolato dal mondo dell'arte perché inghiottito nel delirio della guerra nei Balcani. Il suo volto campeggia qua e là nel web, si ha notizia del suo arreso in Kosovo per "propaganda antipatriottica", e per molti versi viene eletto ad artista-eroe di limpida testimonialità di una realtà bellica di cui l'Europa ha conoscenza solo attraverso i "sospetti" media ufficiali. Girano le sue immagini di Tanz der Spinne, lavoro in progress con immagini truculente di assassinii, arti mozzati, corpi sventrati, il cui intento di denuncia provocatoria è evidente, naturalmente censurati in patria. La Galerija Kapelica di Ljubljana ne espone i documenti nel 1998 ("L'omicidio è il punto in cui la storia e il crimine si incontrano. La morte dell'arte richiede l'omicidio dell'artista. Solo così può emergere", è uno dei suoi statements più lividi), doppiata l'anno dopo da una mostra a Bologna. Poi Darko, per la liberazione del quale gli appelli si susseguono, nell'aprile 1999 viene ucciso nel corso di un bombardamento delle forze NATO: ma circola anche voce che si sia suicidato, oppure che sia morto in circostanze oscure. Parte la gran parata del cordoglio ufficiale, delle commemorazioni, dell'interesse strisciante e peloso intorno ai suoi lavori (è un po' come per Modigliani: la figlia Jeanne narra che già il giorno del suo funerale al Père-Lachaise si aggiravano "i mercanti che, alla chetichella, compravano"): non manca quello alla Biennale di quell'anno, diretta da Harald Szeemann. La faccenda sta montando a vista d'occhio, e va a finire che il 6 febbraio 2000 il sito di Luther Blissett ospita una dichiarazione di 0100101110101101.org, cioè Eva e Franco Mattes, i quali rivelano di aver inventato tutto di Maver, il volto la biografia e le opere: queste ultime sono un punctum

Towards achieving BPS-Statistics Indonesia missions, the dissemination process of statistical products must be carried out well. One of BPS-Statistics Indonesia statistical products is the microdata. In this case, the activity of disseminating microdata should be conducted through the implementation of feasible best practices. Related to that, in a fast-paced of the everchanging world that heavily relies on the evolution of technology, the process of bringing out the best efforts in disseminating microdata must as well follow the rhythm of the moving technology to meet the current needs of the digital society, because otherwise it will be obsolete as time goes by. One of the important issues is the limitation of the existing system in tracking microdata to ensure its authenticity and integrity, in case where the users have purchased the microdata from BPS-Statistics Indonesia. In addressing this traceability issue, a solution through the implementation of the cutting-edge Blockchain technology is considered. A design is proposed to incorporate Blockchain into the existing mechanism of BPS-Statistics Indonesia microdata dissemination. Therefore, a system architecture and a schema for smart contract utilization are proposed to reinforce the microdata tracking.

Since the 1960s, artists and programmers have used computers to create prints, drawings, paintings, photographs and digital artworks. This display celebrated 50 years and more of computer-generated art, exploring aspects of chance and control.

Digital literature has given rise to an amalgamation of traditional literature with technology that leads us to enhanced text. It is a new form of literature that is read through clutters, gutters, and the touch of the screen rather than laboring through pages. The reader gets engaged with the text through creativity, self-direction, and experimentation with the technology, the role of a reader is transferred from being passive to active. It enhances the text and makes it alive by using multimedia tools and enhances the reading experience by immersive reading, aggrandized experience through amplification, and creates partial-authorship and a better-than-real version through simulation. Uncle Roger is text containing hyperfiction, magic realism, and non-linear narrative using hypertexts, simple images, and basic graphics. It consists of three chapters, A Party in the Woodside, Notebook, and Terminals, each chapter contains various hypertexts and hyperlinks that help in creating the plot of the story. The text combines textual and visual materials including colors, pictures, sound, etc. that enhance the digitization of literature. Uncle Roger has been analyzed using the textual method of analysis and by employing three modalities as digital methodologies devised by Gillian Rose; technological modality, compositional, and social modality to comment on the use of magic realism in this digital text and its contribution in meaning-making. This research opens a new dimension of research for the future and provides researchers with new areas of exploration in the digital world as the digital world is ever-lasting and never-ending with various loops and nodes.

What could our future look like? The absurdity and extra-ordinariness of how things are makes this a preposterous question to raise, let alone respond to. Nonetheless Thus, it is imperative that we insist, persist, and resist, by making, re-making and rewriting the dominant narrative, to re-imagine our own stories, histories and futures, beyond pain and trauma. 'Have a Speed-Date With Kai-Let's Re-Imagine Our (Collective) Future Together' was my contribution to a group exhibition Ordinary Things (02-25 November 2023), Winchester Gallery, UK. The show was curated by Professor of Visual Politics Louise Siddons. There were 26 participants, including Kwame Philips, Alexandra (Sasha) Anikina and Seth Giddings. My installation invited people to share their wishes for the year 2050. Should people feel stuck, they could have a speed-date with me to re-imagine our (collective) future, and/or strategise artful ways to fight colonialism. I also had a speed-date with Louise in the form of a podcast, recorded in September 2023, which I have additionally made into a film.

This thesis explores the vulnerabilities and future prospects of blockchain-based artworks, focusing on 81 Horizons byRafaël Rozendaal. A risk assessment of the artwork is conducted using the Brokerhof method. After the contextualization of the artwork and identification of risks, technological obsolescence is deemed the largest risk. Preservation options are explored, namely the variable media strategies. Obstacles and ethical dilemmas are discussed, highlighting the need for preservation protocols for blockchain-based artworks in institutional settings.

Recent scientific advancements have led to a growing number of artists working in the field of science and arts in collaboration with scientists. This interaction between art and science has a long history with cybernetics in the 1950s paving the way for major combinations between the two. This has inspired various art and science movements, such as artificial life art, bio-art, neuro-art, and bio-robotic art. Transdisciplinarity is one of the foundational elements upon which the field of Science and Art is based. The convergence of scientific research with artistic representation, reflection, and provocation has brought to life numerous fascinating artworks that enlighten the audience with new knowledge and push them to ask deeper questions about the world. Although this field of new media is often led by factual research, there are specific indicators that determine its artistic and aesthetical values such as interactivity, innovation, and the challenge cultural discourse.

Moreover, in the setting of bio-artistic activities, the art studio eventually changes into a research lab, the tools of the exhibition become scientific apparatus, and living organisms turn into performers. The traditional creative realm unavoidably combines with ethical and scientific concerns.

Through the lens of Professor Ryszard W. Kluszczynski’s theoretical
frameworks on interactive art strategies and science-based art, this paper will
examine two case studies of SciArt work by the artist and researcher
Robertina Šebjanič. These case studies are: "Aurelia 1+Hz/Proto Viva Sonification and Generator", and "Atlantic Tales: Selachophilia: Cetorhinus Maximus – Limaria Hians". A better understanding of interactive SciArt will be achieved by decomposing the case studies and following the foundational definitions and theories of Professor Kluszczynski.

In conceptual art, the idea is not only starting point and motivation for the material work, it is often considered the work itself. In algorithmic art, thinking the process of generating the image as one instance of an entire class of images becomes the decisive kernel of the creative work. This is so because the generative algorithm is the innovative component of the artist's work. We demonstrate this by critically looking at attempts to reconstruct works of early computer art by the re-coding movement. Thinking images is not the same as thinking of images. For thinking images is the act of preparing precise descriptions that control the machinic materialization of images. This kind of activity is a case of algorithmic thinking which, in turn, has become an important general aspect of current society. Art education may play an important role in establishing concrete connections between open artistic and more confined technological ways of thinking when thinking progresses algorithmically.