Nettime

nettime is not just a mailing list but an effort to formulate an international, networked discourse that neither promotes a dominant euphoria (to sell products) nor continues the cynical pessimism, spread by journalists and intellectuals in the 'old' media who generalize about 'new' media with no clear understanding of their communication aspects. we have produced, and will continue to produce books, readers, and web sites in various languages so an 'immanent' net critique will circulate both on- and offline.

nettime is slightly moderated.

history:

Josephine Bosma: 'Art as Experience: Meet the Active Audience'

Art as Experience: Meet the Active Audience
By Josephine Bosma, Winter 2006

SPLITTING HAIRS
The way we look at art is defined by what we look for. It is defined by what we want it to be or think it to be. It is not necessary to understand a work of art, its background, maker, and art historical context in depth to appreciate it. But when working with art professionally, presenting it, representing it, funding it, or archiving it with public funds, one does have to understand what one is dealing with. There seems to be a problem of classification in art today. The need for clarity and professional skill can become an obstacle when dealing with highly interdisciplinary art works, and the number of these kinds of works is growing. Much contemporary art is created using “new media.” Most of this art is therefore simply called “new media art” or something similar. The problem with this is that it increasingly locks varied types of art into one category and technological approach. At the same time it creates an exclusion of works that are part of new media art’s (material and immaterial) discourses but are not recognized as such. It is important to adopt a more flexible attitude towards technology and technological categories in art, because blindly following tracks laid out by technical instruments in cultural processes can, in the words of historian Siegfried Zielinski, “lead to standardization and unification,” creating a situation whereby, “progressive is regressive.”

A Wiki Story of Net Art 1994-2006

A Wiki Story of Net Art (Open Source)

NetArtHistory

:: 1994 :: art ::

http://sunsite.cs.msu.su/wwwart/hotpics/
:: hot pictures

http://www.cd.sc.ehu.es/FileRoom/documents/homepage.html
:: the fileroom

http://www.irational.org/cybercafe/xrel.html
:: kings cross phone-in

Works Featured in At The Edge of Art by Joline Blais and Jon Ippolito

List of works features in At the Edge of Art by Joline Blais and Jon Ippolito

Projects strongly associated with a single artist or collective name are indexed by creator
all others are alphabetized by the work's title. Except where noted, Web addresses were valid at the time of the book's publication [[spring 2006]]; when the original link had expired, a link describing the project may be substituted. All works are copyright the creators unless otherwise indicated.

0100101110101101.org, Darko Maver; Hell.com; life_sharing

Gallery 9

Gallery 9 is the Walker Art Center's online exhibition space. Between 1997 and 2003, under the direction of Steve Dietz, Gallery 9 presented the work of more than 100 artists and became one of the most recognized online venues for the exhibition and contextualization of Internet-based art.

--------------------------------------------------------------------------------
In 1998, Dietz wrote the following introduction to Gallery 9 and the Walker's New Media Initiatives Department, of which he was founding director.
In Bruce Sterling's Holy Fire, the digital artists of the late 21st century are no longer hyphenated or hybrids. They are simply artificers. And in Interface Culture, Steven Johnson refers to a similar melding, a kind of vocation: "The artisans of interface culture . . . have become some new fusion of artist and engineer--interfacers, cyberpunks, Web masters--charged with the epic task of representing our digital machines, making sense of information in its raw form."

Robert Atkins: 'The Art World (and I) Go On Line'

The Art World (and I) Go On Line
Robert Atkins
Art in America, December 1995
and robertatkins.net

Future art historians will mark the 1994-95 season as the year the art world went on line. Art buffs with the requisite computer-and-modem hardware and Internet access could discuss the Whitney Biennial and Lacanian theory, inspect an international array of museum schedules, search the International Repertory of the Literature of Art (RILA), and peruse auction prices from Sotheby's and Christie's. They could also view artworks--some for sale and others designed for electronic, interactive formats--by artists ranging from paleolithic daubers to Laurie Anderson.

-empyre-

-empyre- facilitates critical perspectives on contemporary cross-disciplinary issues, practices and events in networked media by inviting guests -key new media artists, curators, theorists, producers and others to participate in thematic discussions.

-empyre- is an Australian based global community which preserves its autonomy as a non-hierarchical collaborative entity by engaging with new content on a monthly basis. The list was instigated by Melinda Rackham in 2002 and is currently facilitated with Christina McPhee, Jim Andrews, and Michael Arnold Mages, who choose guests and topics and moderate discussions to retain the thematic integrity.