Introduction to net.art (1994-1999)
1. net.art at a Glance
b. net.artists sought to break down autonomous disciplines and outmoded classifications imposed upon various activists practices.
b. By working without marginalization and achieving substantial audience, communication, dialogue and fun
c. By realizing ways out of entrenched values arising from structured system of theories and ideologies
d. T.A.Z. (temporary autonomous zone) of the late 90s: Anarchy and spontaneity
b. Beyond institutional critique: whereby an artist/individual could be equal to and on the same level as any institiution or corporation.
c. The practical death of the author
2. Investment without material interest
3. Collaboration without consideration of appropriation of ideas
4. Privileging communication over representation
5. Immediacy
6. Immateriality
7. Temporality
8. Process based action
9. Play and performance without concern or fear of historical consequences
10. Parasitism as Strategy
b. Expansion into real life networked infrastructures
11. Vanishing boundaries between private and public
12. All in One:
b. Disintegration and mutation of artist, curator, pen-pal, audience, gallery, theorist, art collector, and museum
2. Short Guide to DIY net.art
b. At least 8 MB RAM
c. Modem or other internet connection
2. Software Requirements
b. Image processor
c. At least one of the following internet clients: Netscape, Eudora, Fetch, etc.
d. Sound and video editor (optional)
2. Formal
3. Ironic
4. Poetic
5. Activist
2. Net as Object
3. Interaction
4. Streaming
5. Travel Log
6. Telepresent Collaboration
7. Search Engine
8. Sex
9. Storytelling
10. Pranks and Fake Identity Construction
11. Interface Production and/or Deconstruction
12. ASCII Art
13. Browser Art, On-line Software Art
14. Form Art
15. Multi-User Interactive Environments
16. CUSeeMe, IRC, Email , ICQ, Mailing List Art
3. What You Should Know
2. Thus net.art is metamorphisizing into an autonomous discipline with all its accouterments: theorists, curators, museum departments, specialists, and boards of directors.
b. Archiving and preservation
b. Claim that the institution is evil
c. Challenge the institution
d. Subvert the institution
e. Make yourself into an institution
f. Attract the attention of the institution
g. Rethink the institution
h. Work inside the institution
b. The utilization of radical artistic strategies for product promotion
4. Critical Tips and Tricks for the Successful Modern net.artist
b. Virtual
3. Avoid traditional forms of publicity. e.g. business cards.
4. Do not readily admit to any institutional affiliation.
5. Create and control your own mythology.
6. Contradict yourself periodically in email, articles, interviews and in informal off-the-record conversation.
7. Be sincere.
8. Shock.
9. Subvert (self and others).
10. Maintain consistency in image and work.
2. Girl or boy friends
3. Hits on search engines
4. Hits on your sites
5. Links to your site
6. Invitations
7. E-mail
8. Airplane tickets
9. Money
5. Utopian Appendix (After net.art)
2. Thus disallowing one dominant voice to rise above multiple, simultaneous and diverse expressions.
2. The bypassing of art institutions and the direct targeting of corporate products, mainstream media, creative sensibilities and hegemonic ideologies
b. Uninvited
c. Unexpected
1. A mall, a porn shop and a museum
2. A useful resource, tool, site and gathering point for an artisan
b. Who does not fear or accept labeling or unlabeling
c. Who works freely in completely new forms together with older more traditional forms
d. Who understands the continued urgency of free two-way and many-to-many communication over representation
Natalie Bookchin, Alexei Shulgin
March-April 1999
Source
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