NetArt - Versionsgeschichte

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2020-05-06T10:12:42Z

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← Nächstältere Version		Version vom 6. Mai 2020, 10:12 Uhr
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	~~=ARTICLES=~~

	~~==The Network, The Internet and the Arts==~~
	~~https://processing.org/tutorials/network/~~

	"artists and designers began making online work that not only was “in and of” the Internet, but leveraged the net as a tool for quick and easy dissemination of executable code, both browser-based and otherwise."

	"As Marina Grzinic writes, the “delays in transmission–time, busy signals from service providers, [and] crashing web browsers” contributed greatly to the way artists envisioned the aesthetic potential of the web,..."


	~~=ARTISTS=~~
	~~John Maeda created a number of sketches and games dating from the mid–1990s, including a series of interactive calendars using visual motifs borrowed from both nature and mathematics.~~

	~~Joshua Davis also emerged as an important figure through his online works Praystation and Once–Upon–A–Forest.~~

	~~Bertolt Brecht on the early revolutionary potential of radio networks~~

	~~Hans Magnus Enzensberger’s 1974 essay on new media, “Constituents for a Theory of the Media”~~

	~~=PHILOSOPHERS=~~
	~~Geert Lovink what else—the possibilities of networking, generative code, and open software projects~~

	~~Deleuze and Guattari’s emblematic literary concept of the “rhizome,”~~


	~~==web-based work==~~
	~~Cosic~~
	~~Shulgin~~
	~~Olia Lialina~~
	~~Heath Bunting~~

	~~Lisa Jevbratt’s work 1:1~~
	every IP address might be represented by a single pixel. Her work scans the IP address namespace, number by number, pinging each address to determine whether a machine is online at that location. The results are visualized as pixels in a gigantic bitmap that, quite literally, represents the entire Internet (or at least all those machines with fixed IP addresses).

	~~Mark Napier’s two works Shredder and Digital Landfill~~
	~~rely on a seemingly endless influx of online data, rearranging and overlaying source material in ways unintended by the original creators.~~

	Works like Carnivore and Minitasking approach the network itself as a data source, the former tapping into real-time web traffic, and the latter tapping into real–time traffic on the Gnutella peer–to–peer network.

	~~>I/O/D 4 (known as “The Webstalker”)~~
	~~Jodi’s Wrongbrowser series of alternative web browsers~~
	~~also illustrate this approach, that the network itself is the art.~~
	~~All of these works automate the process of grabbing data from the Internet and manipulating it in some way.~~

	~~===Jodi===~~
	~~http://wwwwwwwww.jodi.org~~




	~~=NETWORKED ART=~~
	~~Historically, there have been two basic strands of networked art:~~

	~~==art of the Internet==~~
	~~art where the network is used as the actual medium of art–making.~~

	~~==art for the Internet==~~
	~~art where the network is used as the transportation medium for dissemination of the work.~~


	~~==Works==~~
	Marina Grzinic, “Exposure Time, the Aura, and Telerobotics,” in The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet, edited by Ken Goldberg (MIT Press, 2000), p. 215.
	~~http://atc.berkeley.edu/201/readings/Robot_In_The_Garden_Intro.pdf~~

HannahPernerWilson am 26. April 2020 um 15:49 Uhr

2020-04-26T15:49:56Z

← Nächstältere Version		Version vom 26. April 2020, 15:49 Uhr
Zeile 47:		Zeile 47:
	===Jodi===		===Jodi===
	http://wwwwwwwww.jodi.org		http://wwwwwwwww.jodi.org




			=NETWORKED ART=
			Historically, there have been two basic strands of networked art:

			==art of the Internet==
			art where the network is used as the actual medium of art–making.

			==art for the Internet==
			art where the network is used as the transportation medium for dissemination of the work.


			==Works==
			Marina Grzinic, “Exposure Time, the Aura, and Telerobotics,” in The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet, edited by Ken Goldberg (MIT Press, 2000), p. 215.
			http://atc.berkeley.edu/201/readings/Robot_In_The_Garden_Intro.pdf

HannahPernerWilson: Die Seite wurde neu angelegt: „ =ARTICLES= ==The Network, The Internet and the Arts== https://processing.org/tutorials/network/ "artists and designers began making online work that not on…“

2020-04-26T15:32:06Z

Die Seite wurde neu angelegt: „ =ARTICLES= ==The Network, The Internet and the Arts== https://processing.org/tutorials/network/ "artists and designers began making online work that not on…“

Neue Seite

=ARTICLES=

==The Network, The Internet and the Arts==
https://processing.org/tutorials/network/

"artists and designers began making online work that not only was “in and of” the Internet, but leveraged the net as a tool for quick and easy dissemination of executable code, both browser-based and otherwise."

"As Marina Grzinic writes, the “delays in transmission–time, busy signals from service providers, [and] crashing web browsers” contributed greatly to the way artists envisioned the aesthetic potential of the web,..."

=ARTISTS=
John Maeda created a number of sketches and games dating from the mid–1990s, including a series of interactive calendars using visual motifs borrowed from both nature and mathematics.

Joshua Davis also emerged as an important figure through his online works Praystation and Once–Upon–A–Forest.

Bertolt Brecht on the early revolutionary potential of radio networks

Hans Magnus Enzensberger’s 1974 essay on new media, “Constituents for a Theory of the Media”

=PHILOSOPHERS=
Geert Lovink what else—the possibilities of networking, generative code, and open software projects

Deleuze and Guattari’s emblematic literary concept of the “rhizome,”

==web-based work==
Cosic
Shulgin
Olia Lialina
Heath Bunting

Lisa Jevbratt’s work 1:1
every IP address might be represented by a single pixel. Her work scans the IP address namespace, number by number, pinging each address to determine whether a machine is online at that location. The results are visualized as pixels in a gigantic bitmap that, quite literally, represents the entire Internet (or at least all those machines with fixed IP addresses).

Mark Napier’s two works Shredder and Digital Landfill
rely on a seemingly endless influx of online data, rearranging and overlaying source material in ways unintended by the original creators.

Works like Carnivore and Minitasking approach the network itself as a data source, the former tapping into real-time web traffic, and the latter tapping into real–time traffic on the Gnutella peer–to–peer network.

>I/O/D 4 (known as “The Webstalker”)
Jodi’s Wrongbrowser series of alternative web browsers
also illustrate this approach, that the network itself is the art.
All of these works automate the process of grabbing data from the Internet and manipulating it in some way.

===Jodi===
http://wwwwwwwww.jodi.org