NetworkedArt: Unterschied zwischen den Versionen
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ARS/Africa connected project<br>
ARS/Africa connected project<br>
Version vom 7. Mai 2020, 10:22 Uhr
Networked Theater, Performance, Art, Culture...
The Network, The Internet and the Arts
Very nice chapter in the "Processing Book" that introduces 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.
"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,..."
no 99 in tallinn/ rise and fall of estonai 2011
Mediengruppe Bitnik mit der Oper (über Telefon)
The Robot in the Garden
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
The Stellvertreter shoes
convey the feeling to be close to a person who is somewhere else by transferring the activities of the distant person’s shoes into the shoes of others. >> https://blog.shiftr.io/showcase-1-2a4ef797cefc
The project “dia.log” explores the term by setting a dialog between the user and the thing; by understanding various contexts through their sitting behaviors. These objects are given the potential to be smart, but also have a chance to fail. >> https://blog.shiftr.io/showcase-2-5bba0cccbddd
Tangible Media Group
on the early revolutionary potential of radio networks
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.
emerged as an important figure through his online works Praystation and Once–Upon–A–Forest.
Hans Magnus Enzensberger
1974 essay on new media, “Constituents for a Theory of the Media”
ARS/Africa connected project
critical research and designstudio based in amsterdam
Deleuze and Guattari
emblematic literary concept of the “rhizome”
what else—the possibilities of networking, generative code, and open software projects
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.
Carnivore and Minitasking
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.