ART IN INTERNET - By Carolina Bonta de Palazzi

The concept of Internet began in University communities.In 1962 MIT scientific Licklender came with the idea of a "Galactic Network" of communications that is basically the concept of the Internet.
In the 70s and 80s the project was funded by the DARPA (US Defense Advanced Projects Agency) that limited the use of Internet.
With the falling of the Berlin Wall the funding of the project went to private hands.
In 1991 Tim Berners-Lee invents the World Wide Web: a unique language for all computers that mixes text, image and sound (HTML) And the way to communicate all the computers in the net (HPPT). The HYPERTEXT as the base of the net.
The 90s were the commercial explosion of the Web transcending specific communities (as the scientific) becoming almost a commodified element: The New Digital Economy.
The Web is centralized by the ICANN (Internet Corporation for Assignment of names and Numbers) www.icann.org

2.1.b. The ideology of Internet and the Digital Revolution

This technological revolution has lead to what I call a NEW POSITIVISM. Maybe comparable to the Industrial Revolution in the 19^th Century.

A democratic speech
A sense that there is a new opportunity to change the world through individuals efforts. The access to information through technology "brings the power back to individuals" ( Mark Amerika. www.grammatron.com). Not anymore the alienated speech of postmodernism of impossibility of change because o multinational corporations and institutions.

2.1.c. Characteristics of the Internet

Universal language. By binary system. Related to a parallel system to nature, and to science like the atom. Also related to religion belief.

See example by EugeneThacker Bionet: Recombinant. www.turbulence.org "This project is an attempt to assemble a body of discourses surrounding contemporary molecular genetics and biotechnology at the end of the millennium. In the same way that researchers approach genetics and biotech on the level of information and code, this project is a selective gathering of cloned WebPages, a "discourse network" of the genetic body".

Occupies the public space
Really multidisciplinary.
Collapse of the "real world" and "science fiction" = Virtual World. Mental Space. Neuromance from William Gibson gave the name to cyberspace.

Quote from Neuromancer: "Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts...A graphical representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the non-space of the mind, clusters and constellations of data. Like city lights, receding..."

Now we will see how artists relate to this ideology as well as they address the history of art. Its link to the history of art and the model of the art network in the net.

2.2.a. The history of the art network in the net: http://www.walkerart.org/gallery9/dasc/g9_ada_weil.html

In the 60s, right from the beginning of this technological revolution the collaboration between science and art in the Universities began. Example of Rauschenberg and the EAT at the MIT web site. The works he made in collaboration with engineers--the star item there is unquestionably Mud Muse (1968-71), a vat of bentonite (an artificial clay) that bubbles and gurgles and spits, like a pool of quicksand in a Tarzan movie, triggered by a sound-activated compressed-air system. This kind of stuff is engaging and, occasionally, more than that.
From 1993 with the first Web browser the possibilities students and educational institutions were the first to adopt it. These first attempts were to promote more traditional forms of art. In 1994 a student at the French Ecole Polytechnique developed the first extension of a museum online: Le Web Louvre
Meanwhile three electronic bulletins interested in contemporary art were created in order to create an INTERNATIONAL ART COMMUNITY ONLINE: Echo www.echo.org , The Thing www.thething.org developed nodes in Germany through connections of founder Wolfgang Staehle, and Artswire www.artswire.org.
Because of the PUBLIC SPACE that the Internet occupies the first art institutions that became interested in developing net.art (apart from educational institutions) were institutions scoped in contemporary art:
1994 Adaweb www.adaweb.org who’s former director Bejamin Weil (is one of the most influential thinkers in net.art. Now adaweb is hosted in The Walker Art Center in Minneapolis, Minnesota www.walkerart.org directed by Steve Dietz, Director New Media Initiatives. The Gallery9 performances the New Media projects and develop context as well.
From 1995 included net.art: Dia Center www.diacenter.org included a section for web art.
Turbulence: Since 1996its purpose is to facilitate artistic work that explores the specific characteristics of the World Wide Web medium and makes use of multimedia and online technologies such as RealAudio, Java and VRML www.turbulence.org.
These organizations provided the MODEL in which net art would operate:

Hosting of projects in a specific context: CRITICS as translators like the model been used since Modernism.
Hosting developed the idea of PARASITE ART.

As described in Steven Dietz "Archiving with attitude" article: "The Unreliable Archivistis part of a net artgenre that is often described as "parasite art." Far from being a derogatory term in the ecology of the network, parasite art simply refers to work that relies on its host. The relationship between parasite and host generally must be a healthy one in order to keep going, and in this way a parasite is different from a virus. To some degree, most net art is parasitic…The Unreliable Archivist, by mapping certain metadata about äda'web, explores the relationship between host and parasite, database and content, and point of view and user in illuminating and unexpected ways.http://www.walkerart.org/gallery9/three/

Production of support.
Curatorial dimension.
Funding fundamentally by commissioning works.
Address conservation issues.

I just want to extend a little bit in two of these points:

Curatorial activities:

The criteria of selection follows two patterns: One is of INTERPRETATION by linking a selection of sites, emulates the artist himself. Second by commissioning work to an artist in the way of a DIALOGUE.
Develop the interface of the Website: the access to the information.
Display of work out of the web: as museums became in net art the context of display became important in museums galleries.
Conservation in the New Media: (theory developed by Jon Ippolito at "The Unreliable Archivist" as a parasite host at the adaweb. http://www.walkerart.org/gallery9/three/)
The Intellectual access should be different from the referred host, though they have the same content at the end
Two ways to archive: one is by preserving the viewing system (the technology that enables the viewing) and the second is a Pro-Active conservation by upgrading the viewing data.

Funding

Traditional ways of funding as used in the web business cannot be applied because of the ideology of the web (like banners, subscribers and off-line products).
Fundamentally are sponsored by public funds, education institutions and, in some cases, corporations. We will address this issue later when we discuss the market.

We will later see how this model is completed with the role of the galleries and collectors when we address the Market.

2.2.b. Museums

Lately net.art as a new media has been included in Museums:

The Guggenheim Museum virtual projects and the "Virtual Museum Project"
The SF MOMA in the e- Space division that features the "SF MoMA Webby Prize" (the Webby awards), that includes sites of art and commercial sites as well.

The new role of the Museums: the museums as interface.
Museums will create the way to access information. It will function as an interface between art and society.

From Steve Dietz, Director of Walker Art Center. Museums and the Web Conference, Toronto 1998: Museums in an Interface Culture. " Museums once thought of themselves as institutions to collect and preserve objects from around the world, places for scientific study of their collections, and only lastly as places to display the exotic to the public. Over the years museums have changed a great deal. Today, while museums are diverse, as are their aims, it can safely be said that they are primarily in the business of dissemination of information rather than artifacts. The advantage to thinking in terms of information is that it validates the collection of intangibles, such as oral histories, and replicas, as well as actual artifacts; it places museums in a key position in an information age…" --David Bearman. "As this process becomes more and more successful, however, there will be an increasing need to find ways to "filter" the vast quantities of information that are available. The emphasis will shift from simply "creating" content to presenting a context for it; a point of view about it--just as one of the roles of the curator is to identify, contextualize, and present a point of view about works of art." http://www.archimuse.com//mw98/papers/dietz

2.2.c. The Net.art and the history of art

1) Semantic

Developed by WINDOWS (Compare to Magritte): "The Human Condition", 1933 and "The False Mirror", 1935

Horizontal (wide) against vertical (depth).
The idea of the index through the use of "links". Index of an inner reality that the navigator constructs. Related to Duchamp: "The Large Glass" 1915-1923 (see index and Duchamp as described by Rosalind Krauss in "the originality of the Avant Garde and other modernist Myths").
The idea of ready-made from Duchamp, as the activity of creation in the web, the linking in our own criteria comes from "ready-made" information.

From Lev Manovich "The language of New Media", MIT Press to be released on Fall 2000

"These examples illustrate a new logic of computer culture. New media objects are rarely created completely from scratch; usually they are assembled from ready-made parts. Selecting from a library or menu of pre- defined elements or choices is one of the key operations for both professional producers of new media and for the end users. This operation makes production process more efficient for the professionals; and it makes that they are not just consumers but "authors" creating a new media object or experience… Just as with the example of Web pages, which consist from nothing but the links to other pages, here the user does not add new objects to a corpus, but only selects its subset. This is a new type of authorship which corresponds neither to pre-modern (before Romanticism) idea of providing minor modification to the tradition nor to the modern idea (nineteenth and first part of the twentieth centuries) of a creator- genius revolting against it. It does, however, fit perfectly with the logic of advanced industrial and post-industrial societies, where almost every practical act involves choosing from some menu, catalog, or database. In fact, new media is the best available expression of the logic of identity in these societies: choosing values from a number of pre-defined menus".

2) Syntactic

The best way to understand the relation in between net.art and the precedent movements is through its connection in the use of the language.

From Conceptual art, language is used as a vehicle and the media itself. Conceptual art widened the concept of art as an idea developed in a mental space. E.g. Sol Lewitt. In Webart: HYPERTEXT: 3D where the mental space is the VIRTUAL SPACE.
The virtual space as mental space of representation of reality: Magritte, "The Treachery of Images", 1929.

3) Ideological

Manifesto: "Introduction to net.art (1994-1999)" by Natalie Bookchin and Alexei Shulgin
Art as a CONSTRUCTION against a finished work. The aim to bring up together life and art.

Read "Essays on the Blurring Art and Life" Allan Kaprow http://128.138.144.71/abr/leonard.html
From Benjamin Weil: "The Web, in a way, takes its cue from an understanding of art that tends to be rather open. Projects function more as propositions, or as a means for the viewers to engage with a certain thought process they will "interact" with in order to create a specific viewing experience. So, rather than presenting a finished work of art, most artists seek to engage viewers in order to let them participate in the experience and generate meaning. In that sense, there are elements reminiscent of earlier art praxes, such as Conceptual art or Fluxus. Furthermore, art produced for an online environment and context is generally a collage of various elements that somehow takes its cue from the structure of the World Wide Web, namely multimedia and networked." http://www.walkerart.org/gallery9/dasc/g9_ada_weil.htm

The collapse of the gap between the author and audience through interactivity. The anti commodification of art. All this issues that are addressed by the web art and were settled by performance artists as in the Fluxus movement. www.fluxus.org

4) Summarizing…

Characteristics of net art:

International community (no physical space)
Occupies a public space experienced in private
Interdisciplinary.
INTERACTIVE: collapse of the role of artist and audience as art is constructed by the navigator and proposed by the artist.

Metaphor with map as used by Cyberatlas developed by Jon Ippolito.

Use of imagination and science fiction elements.
Democratic speech.
Utopia.

From "The Universal Page Project" by Alexei Shulgin and Natalie Bookchin http://www.universalpage.org/about.html and http://www.universalpage.org/credits.html "A proclamation and manifestation of the utopian dream of world unity and the realization of democratic global communication, the Universal Page articulates the historic and momentous effects of constant flows of creation, communication, exchange, collectivity, connectivity and interactivity where no one with a computer and a modem is excluded, no one with a web server is unheard, and no one with a software client is ignored. This ultimate commemorative living magnum opus utilizes the work, play and input of ever single participant, human and robotic, of the World Wide Web, and mandates a universal commitment to a unified peaceful new millennium, where subjects of the world will live together in shared harmony ." "The Universal Page is a pulsating, living monument commemorating no single individual or ideology but instead, celebrating the global collective known as the World Wide Web. The Universal Page offers the world a once in a lifetime opportunity to join together in honoring and observing our networked past, present and future as it boldly initiates our entry into the new millennium"

Anti commodification of art ideology: No original only multiples, no copyright. Collapse of the idea of uniqueness and authorship.
Anti institutions and corporations.

From "Dirty little Secrets by Walt Benjamin and Bert Bretch" by Mark Amerika http://www.altx.com/dd/intro.html. "For as writing gains in breadth what it loses in depth, the conventional distinction between author and public, which is upheld by the commercial presses, begins in network culture to disappear. For the reader is at all times ready to become a writer, that is, a cyborg-narrator whose sampled and manipulated bits of digital data are ready to be instantaneously teleported into cyberspace. As an expert navigator, the cyborg-narrator gains access to what we once called authorship but what now, in a world facilitated by an unstoppable technological advancement, has become a node of network-potential."

3. The Market

The structure of net.art in the market is:
Compare with Modernist model

Net Institutions and Museums give the structure to operate for the artist by creating a context and commissioning the works (see description of the model). In the cases of the Museums they also work as collectors.

From Steve Dietz, Director of Walker Art Center. Museums and the Web Conference, Toronto 1998: Collecting Web Art http://www.archimuse.com//mw98/papers/dietz

"The San Francisco Museum of Modern Art made one of the biggest splashes to date in terms of museums and the Web by "acquiring" portions of three Web sites: adaweb, Atlas, and Funnel. Even though curator of architecture and design, Aaron Betsky, asked these Web sites to make a donation to the collection, and he "is treating the pieces as he would graphic design, rather than works of fine art, " the conscious, curatorial decision to collect "this over that"--especially when "this" is a Web site--is a significant event.

The Whitney Museum of American Art acquired Douglas Davis's The World's First Collaborative Sentence as part of the estate bequest of collector Eugene Schwartz and has plans to host it from their server, although it is still hosted by the university department where it began.
Walker Art Center also has an agreement in principle to acquire the complete adaweb Web site, which its corporate owners are no longer willing to support as an ongoing effort.(11) adaweb would continue to be served from the Walker site but new projects would not be added to it. The Walker plans the acquisition of adaweb as a significant first step in an ongoing commitment to create a digital study collection of Web-specific art. Note: 11. Matthew Mirapaul, "Leading Art Site Suspended," The New York Times Cybertimes" March 3, 1998

Because of the ideology of the net.art and the characteristics of the work of art is very difficult to commodify: not unique, all originals, no copyright, not physical.
Other forms of digital art as prints and videos are commercialized in series.
Artists work in other forms of digital art or in commercial sphere to support themselves.
Example of net.art sold at Gering Gallery: The John Simon "Combinations", 1996. Sold in a series of 5 for $500 each. It followed the logic of a software sale and registration (though it can be copied).

Galleries that performance digital art:

Gering Gallery : features John Simon - 476 Broome St - 212 226-8195
Postmasters Gallery : features Maciej Wisniewski Netomat. Interest whole exhibitions dedicated to digital art as "Mac Classics"
303 Gallery : 525 W 23 St - 212 255-1121: features Doug Aitkin DVD disks.
54 W 27 St "Safe and Security Land Production" Julia Scher project.
Robert Prime Gallery, London (44 171) 916-6366.
Schipper and Knome Gallery, Berlin (49130) 2839-0139. Both galleries feature Dominique Gonzalez Foerster.

4. Examples of Artist’s Works

4.1. Uses language of cinema but in hypermedia

Blindspot by Cherise Fong and Darcey Steinke, Collaboration between graphic artist and writer. http://adaweb.walkerart.org/project/blindspot/

Highrise by Isabel Chang,1998 http://doxa.net/highrise/ An online adaptation of J.G. Ballard's novel, High Rise, 1975. This work translates the psychological erosion of the protagonist into an user interface that challenges the way we read, surf, and navigate on the web. She also developed a project for Sotheby’s.com. Go to her WebPage: www.doxa.net.

Illusions by Zoe Berloff http://www.turbulence.org/Works/illusions/index.html# Relation to index of Duchamp.

4.2. Work with the idea of interface, the metaweb language. To make you aware of your participation through technology inherent to the net.art.

Mouse Dance by Neil Zusman with Arthur Aviles http://www.turbulence.org/Works/mouse.dance/index1.html

Netomat ™ by Maciej Wisniewski www.netomat.net This is one of the first proposals to replace the "window" format of the Internet and to eliminate the mediation between user and the net. "It is a metabrowser. With Netomat ™ the user has a dialogue with the Internet. The data is not constrained by a WebPage or site but free floating and independent."

IOD by Simon Pope and Matthew Fuller, 1995. Similar project than Netomat. http://www.backspace.org/iod

Disposal Landsfill by Mark Napier www.potatoland.org. "Clean up the Web! Dispose your unwanted e-mail, obsolete data and Spam. All refuse is automatically layered into the Digital Landscape composing system."

4.3. Activism and Utopia

The Universal Page by Alexei Shulgin (utopian) www.easylife.org
Grammatron by Mark Amerika (utopian) http://www.grammatron.com/htc1.0/intention.html

www.grammatron.com Grammatronis an experimental multimedia environment developed by artist Mark Amerika in 1997. The nonlinear narrative concerns Abe Golam, an "info-shaman," whose alternate persona is Grammatron, a genderless digital being. Abe's surname alludes to the medieval Jewish legend of the golem, a robotlike servant made of clay and brought to life, who is considered a prototype for man-machine myths from Frankenstein to cyborgs such as the Terminator." "The cyborg-narrator, whose language investigations will create fluid narrative worlds for other cyborg-narrators to immerse themselves in, no longer has to feel bound by the self-contained artifact of book media. Instead of being held hostage by the page metaphor and its self-limiting texture as a landscape with distinct borders, Hypertextual Consciousness can now instantaneously link itself with a multitude of discourse networks where various lines of flight circulate and mediate the continued development of the collective-self as it rids us of this need to surrender our thinking to outmoded conceptions of rhetoric and authorship."

Irrational.com by Heath Bunting and Rachel Baker www.irational.org Web site that looks as a government institutional website. Interface is disordered, not indexed. Ironic and critic. Anti-corporative. This is reflected in Art of Work by Rachel Baker 1999 http://www.irational.org/tm/art_of_work.

Critic at CIAC http://www.ciac.ca/magazine/en/cadre.html. "Most will understand the play of words in Rachel Baker's Art of Work, that it rests on the meaning of the words, where the inversion of the expression "work of art" represents an inversion of meaning, which the wordplay literally illustrates: it is a call for a reversal and upheaval of the workplace, for its invasion and investment by art. One finds in this work (which lives, one mustn't forget, at irational.org, along with Heath Bunting's) the same qualities one recognizes as typical of the "artivists" at net.art: at once playful, ironic, critical and utopian, this work is more than a simple play on words. In the wake of an art revolutionary in form and in substance that artivists put forward, it is again a question of "changing life" by using the new powers the Web provides. Much more than a "1 percent" (regulation that commits large corporations to spending 1% of their budget on the construction of artworks, which, in the end, function only as decoration), one discerns in AOW an echo of the famous sixties slogan, "imagination is power," still seen as graffiti ? an interventionist art valued by artivists. Visually, AOW takes the form of a questionnaire in several parts for creating a categorized database of artists and corporations. One hesitates before its serious and professional appearance, its colour scheme of sparse and clinical blue-green rectangles. Is this "serious"? Ambiguity prevails ? even if one notices, among other things, the ironic touch of a fifties-style commercial illustration in the upper left of each page, depicting a young woman uttering: "business needs art." Besides, as one progresses through the questionnaire, subversive intentions become apparent ? as in the spelling test, where the choice of words ("agitation, bureaucracy, detournement, sabotage, proletariat, revenue, irrational…") is obviously far from innocent; right up to the last page, "Work Resource Mismanagement," "for the artist/activist" to exchange tips on ways for "exploiting the workplace," for "improving the workplace by disruption, renegotiation of space, etc." AOW is thus another work from net.art that insists on the Web's vocation for communication and collaboration, where text remains the primary material, rather than the images which only encourage passive consumption. Faced with a work such as AOW, one cannot help thinking: could this be true, after all? Could the Web really have the potential that some utopian thinkers (such as French artist Pierre Lévy, or Natalie Bookchin and Alexei Shulgin in Introduction to net.art, commented on this page) ascribe to it of "changing the world?" One can at least say that with net.art and works such as AOW in its arsenal, the Internet has the power to seriously (or playfully) reassess itself."

Wonderland by Julia Scher. Critics Pop culture and consumism. Relates to marketing strategies. http://adaweb.walkerart.org/~scher/index.html

Potato Land by Mark Napier www.potatoland.org. He is against corporate culture. He denounces how the commercial logic conditions our comprehension of the use of the net. This is claimed in one of his projects: ©Bots http://www.potatoland.org/pl.htm

About ©Bots: Anticorporate copyright control + do it yourself pop-culture robotics.
"Copyrighted memes live in our minds, influence our thoughts, even shape our decisions. We are hosts for these memes, yet we have no say in their design, nor do we have the legal right to alter them. Like sacred icons they are controlled by corporate high priests and defended by armies of lawyers. To defile a corporate memetic property is a sacrilege that incurs harsh punishment in the form of legal action and exorbitant fines. Anyone caught tampering with a corporate meme must be frightened away lest they alter the meme pool living in the host population, with potentially damaging consequences for the corporate profit stream. Internet gives unprecedented ability to track behavioral patterns, preferences and buying, habits. Businesses are flooding to this medium to exploit the growing population of potential consumers. Corporations compete for your attention, for access to your memory, fertile ground where they can install their memes. Your mind is the most valuable real estate in cyberspace. Memes infiltrate and multiply in this real-estate, usually without the host even knowing. Squatting in mental territory, corporations pay no rent to the owner of that property. We at ©Bots urge you to reclaim your mental real-estate. Evict the sponging memes by sending ©Bots in after them. With ©Bots you can spread your own counter-memes into our collective mental space. ©Bots are built from familiar pop-culture components, so they can be readily absorbed into memory, yet they combine those elements into surprising and contradictory new forms. Over time ©Bots disrupt and dislodge entrenched memes, raising them to the conscious level where the host can control the impact of the meme in their lives."

The Unreliable Archivist by Jon Ippolito http://www.walkerart.org/gallery9/three/g9_ua_essay.html Explores the illusion of the choices and questions the utopian rhetoric of interactivity, but the choices are highly settled by the artists. Also questions the relationship of parasite art and the act of archiving in the net.

From text of Steve Dietz, 1999http://www.walkerart.org/gallery9/three/g9_ua_essay.html "One of the critical ways in which The Unreliable Archivist is not like other systematic, parasitic works is that all of the relationships to the host--to äda'web--have been carefully selected by the artists. This is not a random mutation. It is not even an objective algorithmic relationship. In this sense, Cohen, Frank, and Ippolito, like many net artists, belie the utopian rhetoric of interactivity. By allowing the viewer to manipulate the category sliders, they give the illusion of choice; the choices are, however, highly circumscribed."

4.4. Uses mechanisms of games

I Confess by Group Z. http://adaweb.walkerart.org/~GroupZ/confess/

Trigger Happy by Jon Thomson and Alison Craighead. http://www.thomson-craighead.net/ The game Space Invaders inspired the interface. Based on a Gilles Deleuze and Felix Guattari text about the permanent destruction in the evolution of sense.

4.5.Poetic

Wake by Gary Simmons, 2000 http://www.diacenter.org/simmons/index.html Plays with the temporality and memory, absence and the ephemeral are as palpably charged as what is present and lasting.

Loaded 5x by Doug Aitken http://adaweb.walkerart.org/project/aitken/

4.6. Relation between public vs. private space

Private Property by Sabine Mai http://www.binemai.com/privateproperty/index.htm The collapse between public and private space and voyeurism.

Reviews by Anne-Marie Boisvert and Sylvie Parent. "In Private Property, Sabine Mai lays out her night table with familiar objects that happen to be there, as she says, of their own accord: "some stuff decided to live with me." The visitor is thus afforded a view of the whole table, next to the bed, which we see only partially, but sufficiently to guess that, as far as we can imagine, at least, it is in the artist's own room. As visitors, we find ourselves more or less consenting voyeurs ? rather more than less, judging by the title, "Private Property," suggestive of the often displayed warning against intrusion… Here, there's a paradox, however, since the title is shown on a Web site, open to all comers, and is also a "work of art," which, by definition, is open to contemplation by all: we are then drawn to sidestep the title's warning, warnings of this type always creating a temptation, a trangressive desire to go beyond "anyway" ? the forbidden having always, and at all times, been more interesting to catch sight of. Sabine Mai obviously and knowingly plays with one of the most pressing tensions of the Web: the relationship between the public and the private, the intimate and the exterior."

5.- Bibliography

Museums, Net Institutions and Net Publications

White House Collection of American Crafts
http://nmaa-ryder.si.edu/whc/whcpretourintro.html
"In virtu" tour (video clips)
http://nmaa-ryder.si.edu/whc/invirtutourmainpage.html
"Ask the artist" additional questions example
http://nmaa-ryder.si.edu/whc/artistshtml/hoffmann.html

National Gallery of Art (DC) "Web Tours" using RealSpace
http://www.nga.gov/exhibitions/webtours.htm

Online RealSpace tours to date include Lorenzo Lotto: Rediscovered Master of the Renaissance , Thomas Moran, Sculpture of Angkor and Ancient Cambodia: Millennium of Glory, and Thirty-Five Years at Crown Point Press

Whitney Museum of American Art Art Links
http://www.echonyc.com/~whitney/weblinks/main.html

Musee d'art contemporain de Montreal
http://media.macm.qc.ca/homea.htm
One of the best comprehensive indexes in the web about art.

Centre International d’ Art Contemporain de Montreal ? Le Magazine Electronique du CIAC
http://www.ciac.ca/magazine/

Cincinnati Contemporary Arts Center Virtual Exhibition Links
http://www.spiral.org/virtualexhibitions.html

Andersen Window Gallery, Walker Art Center
http://www.walkerart.org/programs/andersen/

QTVR views of this changing exhibition space.
Linked QTVR movies also allow the online visitor to "walk around" the Minneapolis Sculpture Garden

The Natural History Museum (London), Virtual Endeavour
http://www.nhm.ac.uk/VRendeavour/

UCR/California Museum of Photography
http://www.cmp.ucr.edu/site/webworks.html

@art
http://gertrude.art.uiuc.edu/@art/

Dia Center for the Arts Artists' Projects for the Web
http://www.diacenter.org/rooftop/webproj/index.html

Walker Art Center Gallery 9
http://www.walkerart.org/gallery9/

San Francisco Museum of Modern Art Web site
http://www.sfmoma.org

adaweb
http://www.adaweb.com

Atlas
http://atlas.organic.com

Funnel
http://atlas.organic.com

Diana Theater: Orchids in the Land of Technology
http://www.walkerart.org/thater/

Theater "tunnel"
http://www.walkerart.org/thater/cyan.html

UCR/California Museum of Photography
http://www.cmp.ucr.edu/site/webworks.html

Curatours, Institute for Contemporary Art (London)
http://www.illumin.co.uk/ica/CURATOUR/index.html

adaweb
http://www.adaweb.com

Digital Studies
http://altx.com/ds

irational.org
http://www.irational.org

Stadium
http://stadiumweb.com/

Turbulence
http://www.turbulence.org/

The Thing
http://www.thing.net/

Year Zero One
http://www.year01.com/year01

agency.com
http://www.agency.com/

Urban Desires
http://www.urbandesires.com/

Razorfish
http://www.razorfish.com/
The Blue Dot
http://www.razorfish.com/ns-frameset.html

Plumb Design
http://www.plumbdesign.com/

Thinkmap
http://www.thinkmap.com/

Leonardo Electronic Almanac Gallery
http://mitpress.mit.edu/e-journals/Leonardo/gallery/gallery294/gallery.html

Le WebLouvre
http://mistral.enst.fr/~pioch/louvre
U.S.-based mirror site
http://sunsite.unc.edu/louvre/

rgb
http://www.hotwired.com/rgb/

<nettime>
http://www.factory.org/nettime/

Rhizome
http://www.rhizome.org/fresh/

irational.org
http://www.irational.org

Ars Electronica
http://www.aec.at/center/centere.html

Franklin Furnace
http://www.franklinfurnace.org/

Net Projects and Essays

Art As Signal
http://gertrude.art.uiuc.edu/@art/leonardo/leonardo.html

Alternating Currents: American Art in the Age of Technology
http://www.sjmusart.org/AlternatingCurrents/

Bodies Incorporated
http://arts.ucsb.edu/bodiesinc/

Mixing Messages: Graphic Design in Contemporary Culture
http://www.si.edu/organiza/museums/design/exhib/mixingmessages/start.html

Revealing Things
http://www.si.edu/revealingthings/

Techno.Seduction
http://www.cooper.edu/art/techno/

Exploratorium Cool Art Sites
http://www.exploratorium.edu/learning_studio/cool/arts.html

Helios, National Museum of American Art
http://nmaa-ryder.si.edu/helios/index1.html
Transmissions
http://nmaa-ryder.si.edu/helios/transmissions.html

CyberAtlas, Guggenheim Museum
http://cyberatlas.guggenheim.org/intro/ca-f.html

"Beuys/Logos: A Hyperessay," Walker Art Center
http://www.walkerart.org/beuys/beuysframe.html

Shu Lea Cheang, Bowling Alley
http://www.fa.indiana.edu/~bowling/

Peter Halley, Exploding Cell
http://www.moma.org/exhibitions/halley/index.html

Douglas Davis, The World's First Collaborative Sentence
http://math240.lehman.cuny.edu/art/

Steve Dietz, "What Becomes a Museum Web?"
http://www.yproductions.com/talks/

Speed
http://tunisia.sdc.ucsb.edu/speed/

Switch
http://switch.sjsu.edu/web/v3n3/militarytoc.html
See in particular Web Art Taxonomy
Talk Back!
http://math.lehman.cuny.edu/tb/

Why Not Sneeze?
http://www.ccc.nl/sneeze/

Revealing Things
http://www.si.edu/revealingthings/

ISEA 97
http://sthelens.neog.com/isea/isea.htm

SIGGRAPH 98
http://www.siggraph.org/s98/cfp/art/
Beyond Interface: net art and Art on the Net

Sandra Gering Gallery
http://www.users.interport.net/~gering/

Postmasters Gallery
http://thing.net/~pomaga/
The Robert J. Schiffler Foundation
http://www.bobsart.com/

Time & Bits: Managing Digital Continuity
http://www.ahip.getty.edu/timeandbits/

Desktop IS
http://www.easylife.org/desktop/

Muntadas, File Room
http://simr02.si.ehu.es/FileRoom/documents/TofCont.html

Unfortunately, the primary Web version of File Room is off-line with the demise of Randolph Street Gallery in Chicago, which co-produced the project, but an earlier interface exists at the address above. A "fact sheet" is also available from the 1995 NII Awards page.
Return to text.

Komar & Melamid, The Most Wanted Paintings on the Web
http://www.diacenter.org/km/index.html

Paul Vanouse, Persistent Data Confidante
http://www-crca.ucsd.edu/~pdc/

Lin Hsin Hsin Museum
http://www.lhham.com.sg/lhh.html

Robbin Murphy, Project Tumbleweed
http://www.artnetweb.com/iola/tumbleweed/index.html

ZoneZero: From Analog to Digital Photography
Questions of what constitutes art on the Web."
http://www.zonezero.com/

PORT: Navigating Digital Culture
http://www.artnetweb.com/port/

History of Internet

The Internet Society Organization.
Founded by the creators of the Internet. You can get a brief history of the Internet as told by the main players.
http://www.isoc.org/internet-history/brief.html

P. Baran, "On Distributed Communications Networks", IEEE Trans. Comm. Systems, March 1964.

V. G. Cerf and R. E. Kahn, "A protocol for packet network interconnection", IEEE Trans. Comm. Tech., vol. COM-22, V 5, pp.
627-641, May 1974.

L. Kleinrock, "Information Flow in Large Communication Nets", RLE Quarterly Progress Report, July 1961.

J.C.R. Licklider & W. Clark, "On-Line Man Computer Communication", August 1962.

L. Roberts, "Multiple Computer Networks and Intercomputer Communication", ACM Gatlinburg Conf., October 1967.

Internet Bibliography

The Language of New Media - Lev Manovich (MIT Press. Coming on Fall 2000)

Science Fiction and Internet

Neuromance ? William Gibson, 1984. http://www.sffworld.com/authors/g/gibson_william/
Novel that gave the name of cyberspace to the Virtual World of Internet. A landmark novel if you are interested in Internet.

Digital Being ? Nicholas Negroponte, MIT Press, 1995 http://nicholas.www.media.mit.edu/people/nicholas/

Art References

The Technological Muse - Catalogue from exhibition November 11 1990 - February 3 1991- Katonah Museum of Art.

Report on the Art and Technology Program of the Los Angeles County Museum of Art - 1967-1971

The Media Arts in Transition - June 1983 - The Walker Art Center

Robots - 1983 - The Walker Art Center and MIT Press

The Movement - Paris 1955 - Ed. Denise Rene

Robert Rauschenberg : A Retrospective by Robert Rauschenberg, Susan Davidson, Trisha Brown, Ruth E. Fine - 1997 - Guggenheim Museum

The End!

Done by Carolina Bonta in Apple iMac, New York, May 2000.