Art en Réseau
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Art en Réseau
Toutes les formes d'art utilisant le réseau
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Les débuts d’un art Internet – net.art (hi)story

Les débuts d’un art Internet – net.art (hi)story | Art en Réseau | Scoop.it
"Indissociable du contexte socio-politique et technologique des années 90, l'expérimentation d'Internet par les artistes va permettre d'élargir les possibilités offertes par ce moyen de communication et d'influer un nouveau souffle à la création et à ses idéaux conservateurs en offrant un accès continu et décentralisé aux œuvres et une interaction directe entre l'artiste et son public."
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IP Monochrome - 2006 - Reynald Drouhin

IP Monochrome - 2006 - Reynald Drouhin | Art en Réseau | Scoop.it
"[...] IP MONOCHROME est un dispositif interactif dans lequel le monochrome est envisagé à la fois comme une œuvre collective et autonome.

En se connectant sur le site de Reynald Drouhin, un individu lambda présent sur Internet génère un monochrome par l'intermédiaire de son adresse IP. Initialement codée en chiffres, son adresse IP est transformée en valeurs RVB (Rouge Vert Bleu). Ces valeurs sont elles-mêmes converties en code hexadécimal, donnant ainsi la référence-couleur « unique » de l'adresse personnelle de l'utilisateur. Le monochrome se génère donc immédiatement dès sa connexion sur le site et sans étapes visibles. [...]"
Carole Rinaldi
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Les sites internet d'artistes acquis par le Centre Pompidou - page enfuie

Les sites internet d'artistes acquis par le Centre Pompidou - page enfuie | Art en Réseau | Scoop.it
La page aujourd'hui inaccessible sauf en lien direct qui recencait les oeuvres de netart acquises par le centre Pompidou. Il faut espérer que le nouveau site actuellement en beta fermée y sera plus attentif.
"Depuis l'an 2000, le Centre Pompidou a décidé d'enrichir sa collection Nouveaux Médias en acquérant des créations artistiques sur le Web. Cette collection s'enrichira régulièrement aux cours des prochaines années.

Les sites proposés sont les suivants :
Calendier 2000, Claude Closky, 2000.
Prends garde! A jouer au fantôme, on le devient, Johan Grimomprez, Herman Asselberghs, 1997.
Sm.N-Sprinking Menstrual Navigator, Igor Stromajer, 2000.
Travelling to Utopia, Young-Hae Chang Heavy Industriesr, 2005.
What Now ?, Quoi maintenant ?, Young-Hae Chang Heavy Industriesr, 2005."

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internet and network art - The University of West London - 2007

internet and network art - The University of West London - 2007 | Art en Réseau | Scoop.it
"The act of evenly distributing anything is a political one. The internet and other networks provide a means to share, communicate, inform, entertain, occupy, mobalise, and activate. Pick a verb and networks will probably facilitate that action: buy, teach, subvert, lie, enchant. As a tool, our networks allow us to communicate synchronously and asynchronously. They have become a vehical for artistic practice.

Networks have a past, They collect and store our interactions. We use them in the present, in real-time. And the internet always seems to be part of the future: a promise, an emerging technology: a project with goals.

Marshall McLuhan's global village is virtually here in network terms. Global space is transcended. Time is compressed: international distance is represented by a progress bar.

As a medium, networks allow us to express, to easily identify with others who express. Artists have, since early times (1992), adapted the internet for creative and aesthetic purposes. This module looks at the opportunitity electronic networks provide for artistic expression. Then and now.

Some network art courses get stuck looking at the past, trying to establish context in an area where change is rapid. Desipite frustration, we will attempt to do this. There is an historical basis to this area of study. Although artefacts designed for Iinternet Explorer 3 and not likely to work in current browsers, we will consider them. But this is important: it may be a creative mistake to emulate network / telematic art of the past: in form and in idea. Things change. And in terms of the internet and networked practice, seemingly very, very quickly. An innovative java applet or flash toy of yesterday exhibits skill, talent and maybe artistry. But today, it is quickly viewed as old, irrelevent, incompatible, outmoded, unfashionable. Net creativity and innovation seem to be dependent on fashion and on trends. We will ride on, play with and identify currently emerging technical practice: from the familiar: the blogosphere, the podcast, to the nearly new: the aggregate, the geotagged, geocached and geospatial, to the downright emergant:the mapped, the ajaxed, the timeshifted, the embedded, the meaningful (for meaning read semantic).

Our creative focus will attempt to establish key emerging internet technologies: learn them then play with them. You will document your progress and learning. In the networked space, you will make things. Toys, tools. Artefacts. Images. Stories. Things. You will aim to express. To narrate, to design, to illuminate, to enchant, to perform. Your audience may participate, may collaborate - who may be remote or who may be

You may collaborate with others in the groups. Swop skills. You may play with hardware, with software, with rules and competitions.

You are asked to extend your existing technical knowledge in the service of artistic exploration. If you struggling with HTML and CSS, brush up quickly. These are basic skills for the network artist.

As a level three module, Internet and Network art assumes you are - if not - becoming an independent learner. You set your own aims and goals. You identify what you want and need to learn in the context of the module. You plan your own time of sustained and self-motivated study outside the classes. The workshops will reflect this. We want to facilitate ideas and new explorations, not teach basic dreamweaver and ftp-ing to third years."

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PUREkev - kevin bewersdorf - 2009

PUREkev - kevin bewersdorf - 2009 | Art en Réseau | Scoop.it
PUREkev: The Kev on the Web...
"Kevin Bewersdorf was doing okay for himself:
1. He was a co-founder of the Internet surf club Spirit Surfers.
2. He was developing a prolific and popular collection of photography, texts, performance pieces, and music on his website maximumsorrow.com.
3. He had (amongst other exhibitions of his physical work) a solo show at the V&A gallery in New York, and a two-person show with Guthrie Lonergan at the well-known And/Or gallery in Dallas.
In short, Bewersdorf was building an impressively dense archive of work with a strongly growing reputation both on and off the Internet.

(He had good “stats.”)

What, then, to make of his decision in early 2009 to take this archive of work off of the Internet, destroying it as well as whatever traces he could find of it left, and replacing it with a single work—a three-year long, in-progress performance piece he calls PUREKev?
PUREKev is a highly-focused, three-year long performance in which Bewersdorf very gradually diminishes the size of his artistic avatar—a looping clip of over-exposed home video footage depicting a firecracker flickering– relative to the (International Klein?) blue field over which it flickers.
There’s something poetic about this idea which draws one to its premises and, then, carries one beyond the auto-destructive act which preceded it.
Still, though, what justifies the relatively extreme length of three years?
Would one, after a year, of watching Bewersdorf’s little light growing smaller and smaller, still care?
And indeed, that’s just the ballsy gambit of the work:
Bewersdorf made a wager that there is something to his gesture which—despite its simplicity—is intriguing enough for one to follow and keep following, each return a new wave of illumination into the work’s significance.
In my own experience of the work, this is–so far–true.
I can’t say that I look at purekev.com everyday or even every month, but I do return to it every now and again on a somewhat regular basis (as in a pilgrimage) and, when I do so, I never leave satisfied or dis-satisfied, but, rather, pleasantly held in suspension—not sure where to put my finger, but interested in fingering it nonetheless.
When I go to the site today (April 6th, 2010), I—at first—don’t view the flickering light at all.
Rather, I view a blue void through which I scroll to—then–find the little, flickering light at the bottom of the page, surrounded by blue.
As I’ve followed Bewersdorf’s performance, its value to me has begun to reside less in the tracking of his flickering light and more in its tracking of the field upon which it flickers."
http://122909a.com/?tag=kevin-bewersdorf
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Too Much Concept - collection of net art created and curated by Mirrrroring and Hypothete - 2011

Too Much Concept - collection of net art created and curated by Mirrrroring and Hypothete - 2011 | Art en Réseau | Scoop.it
creating a hierarchy and leveraging it for institutional power...
Too Much Concept is a collection of net art created and curated by Mirrrroring and Hypothete. Interested in submitting work? Email hypo@hypothete.com.
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NetRezonator - Koji Ito - 1998

NetRezonator - Koji Ito - 1998 | Art en Réseau | Scoop.it
Is It Possible To Provide The Artistic Experience On The Web?
About NetRezonator...
NetRezonator can be defined as a communication system or a chat application exchanging sounds and visuals. Anybody who has terminal computer can connect to this program at the same time. You can enjoy the performance of someone else playing and are free to join the session. When you play, try to make a beautiful harmony together. We'll find ourselves connected strongly by communication beyond words and synchronized each other.

Operating Manual
If you can see sounds and visuals (ripples) after starting the program, it means someone has already been playing in somewhere else. [IP MONITOR] indicates the IP address of player's terminal(client machine). To join the session, chose the tone from the [INSTRUMENT] panel first and click a tuning fork on the [STAGE] area. Eight tuning forks compose an octave (only white keys in piano): C,D,E,F,G,A,B,C2(from the left). This click action is conveyed to all connected terminals (clients) through the server and each program will make changes in sounds and visuals.
If nobody's coming, keep running the program on the back, and wait for a while. Someone should come sooner or later. Your IP addresses are programmed to be written from the third figure for the third party.
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Google Street Views - Jon Rafman - 2009

Google Street Views - Jon Rafman - 2009 | Art en Réseau | Scoop.it
"[...]One year ago, I started collecting screen captures of Google Street Views from a range of Street View blogs and through my own hunting. This essay illustrates how my Street View collections reflect the excitement of exploring this new, virtual world. The world captured by Google appears to be more truthful and more transparent because of the weight accorded to external reality, the perception of a neutral, unbiased recording, and even the vastness of the project. At the same time, I acknowledge that this way of photographing creates a cultural text like any other, a structured and structuring space whose codes and meaning the artist and the curator of the images can assist in constructing or deciphering.

Street View collections represent our experience of the modern world, and in particular, the tension they express between our uncaring, indifferent universe and our search for connectedness and significance. A critical analysis of Google’s depiction of experience, however, requires a critical look at Google itself.

Initially, I was attracted to the noisy amateur aesthetic of the raw images. Street Views evoked an urgency I felt was present in earlier street photography. With its supposedly neutral gaze, the Street View photography had a spontaneous quality unspoiled by the sensitivities or agendas of a human photographer. It was tempting to see the images as a neutral and privileged representation of reality—as though the Street Views, wrenched from any social context other than geospatial contiguity, were able to perform true docu-photography, capturing fragments of reality stripped of all cultural intentions.

The way Google Street View records physical space restored the appropriate balance between photographer and subject. It allowed photography to accomplish what culture critic and film theorist Siegfried Kracauer viewed as its mission: “to represent significant aspects of physical reality without trying to overwhelm that reality so that the raw material focused upon is both left intact and made transparent.”[...]"
Jon Rafman
http://www.artfagcity.com/2009/08/12/img-mgmt-the-nine-eyes-of-google-street-view/
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Miltos Manetas – In My Computer

Miltos Manetas – In My Computer | Art en Réseau | Scoop.it
Domenico Quaranta, Editor's Note, in Miltos Manetas, In My Computer, LINK Editions 2011.
"[...]
-«I like the title of your book, can I borrow it?»
-«Sure.»
-«You’d better use it for all the books you are going to publish. You ask authors to collect and share spare fragments of text available on their computer, and you publish them all with the same title, In Your Computer – the only difference being the author’s name and the book’s contents.»

I loved the idea. I took it and I brought it with me in the underground. Then, I phoned Fabio. Discussing with him, the idea changed shape again.

The book you hold in your hands, or you read on your screen, is the result of this fast, invisible process. Ideas moving from mind to mind, circulating freely on phone lines and internet connections, and being reshaped and refined at every step. Who does it belong to? To hackers, who first said «we love your computer»? To Jodi, who turned this sentence into «we are honored to be in somebody’s computer»? To me, who fourteen years later decided to call my book In Your Computer? To Miltos, who wanted to steal my title? To Fabio, who rephrased it into In My Computer?

The truth is that this idea doesn’t belong to any of us. It belongs to You, my beloved reader. Take it, reshape it, turn it into something better, and set it free again. This is one of the wonderful messages that Miltos is delivering to You, and to his upcoming daughter, with this book. Here, he collected some texts already available online, not necessarily in the present form, and a selection of private writings, email exchanges, notes taken on a Smartphone. This is his personal time box, and it’s open source. I hope you will enjoy its contents as I did."

Domenico Quaranta, Brescia, May 21, 2011
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Organize Everything - Xavier Barrade - 2010

Organize Everything - Xavier Barrade - 2010 | Art en Réseau | Scoop.it
"Download empty diagrams of all kind to help you organize everything. Print and fill in these diagrams the way you want to. Scan the results (or take a clean photo shoot) and send hi-res pictures (300 dpi) at organize@xavierbarrade.com with your name, adress and the url of your website if you have one. Pictures will be published in the gallery section and selected to appear in an upcoming book."
Le site de Xavier Barrade:
http://www.xavierbarrade.com/
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Conférence Christophe Bruno, Heath Bunting - Jeu de Paume - vendredi 10 juin 2011 19 heures

Conférence Christophe Bruno, Heath Bunting - Jeu de Paume - vendredi 10 juin 2011 19 heures | Art en Réseau | Scoop.it
Cette conférence, organisée à l'occasion de l'exposition "Identités précaires" (cycle "Side Effects"), présentée sur l'espace virtuel du Jeu de Paume jusqu'au 15 septembre, est consacrée aux questions de l’immolation virtuelle et aux nouvelles formes d’activisme issues du réseau.

Ces formes artistiques, fortement politisées sur le réseau, sont-elles exportables du World Wide Web vers le monde dit réel ? Inversement, les évènements géopolitiques récents et le rôle qu’ont joué les dispositifs comme Facebook, Twitter ou Google transforment-ils notre perception du monde dit virtuel ?

Rencontre avec Christophe Bruno, commissaire de l’exposition "Identités précaires", Geoff Cox, chercheur, artiste et commissaire d'exposition, Milad Doueihi, théoricien des religions et Heath Bunting, artiste.
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Your name in lights - John Baldessari - Museumplein Amsterdam, 1 – 26 juni 2011

Your name in lights - John Baldessari - Museumplein Amsterdam, 1 – 26 juni 2011 | Art en Réseau | Scoop.it
"The Holland Festival and the Stedelijk Museum jointly present the interactive artwork Your Name in Lights by John Baldessari, one of America’s best-known Conceptual artists. This extraordinary artwork will be installed on Museumplein from June 1 to 26, 2011. Your Name in Lights draws on our society’s obsession with celebrity and recalls Andy Warhol’s oft-quoted statement from 1968, “In the future, everyone will be world-famous for 15 minutes.” Inspired by historic markers of show-biz celebrity, such as the neon lights on Broadway and the marquees of Hollywood cinemas, Baldessari offers spectators a chance to seize 15 seconds of fame by presenting their names on a 30-metre L.E.D. screen. Your Name in Lights premiered as the 23rd Kaldor Public Art Project, in collaboration with the 2011 Sydney Festival; its appearance in Amsterdam is the second and only other planned presentation of the work."
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Nuit synthétique - Aurelien Vret - 2009

Nuit synthétique - Aurelien Vret - 2009 | Art en Réseau | Scoop.it
"Cette carte permet de rendre visible les lieux représentés dans différentes peintures en cours de réalisation. Tout les mois, la carte est actualisée d’une nouvelle œuvre.
Le titre des peintures à l'huile correspond aux coordonnées GPS du lieu.
Le titre des aquarelles correspond à la route empruntée pour réaliser l'image représentée."

http://www.aurelien-vret.fr

Le site du projet (merci Aurélien):
http://peinture-de-nuit.fr/home/
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AUV's comment, June 10, 2011 6:26 PM
Un microsite a été créé pour ce projet où on retrouve l'ensemble des cartes, un blog avec différentes analyses du sujet, et une autre exposition virtuelle des peintures :

http://peinture-de-nuit.fr/home/
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Interview with Alexei Shulgin - Rhizome - Brian Droitcour - 2008

Interview with Alexei Shulgin - Rhizome - Brian Droitcour - 2008 | Art en Réseau | Scoop.it
"Alexei Shulgin's pioneering works in internet art are collected on his site easylife.org, but many of the links there are empty or obsolete; one called Insanity Notification sends visitors to a site indicating that Shulgin went insane at an unidentified point in the past. It has been more than five years since Shulgin left the online environment to focus on the production of tangible, marketable objects. His collaboration with Aristarkh Chernyshev began in 2003, and two years later the artists founded Electroboutique a gallery-slash-gadget shop selling distorting screens and other high-tech toys. Shulgin and Chernyshev called it "Media Art 2.0," and wrote a manifesto saying the plug-and-play nature of their new work liberated them from a "media art ghetto," adding that their manipulation of familiar screen-based interfaces contained a nugget of criticality. Their work was recently featured in "Criti Pop", an exhibition at the Moscow Museum of Modern Art (along with interactive installations that Chernyshev made in collaboration with Vladislav Efimov). [...]" Brian Droitcour
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AFP: La marine américaine lance un jeu vidéo pour combattre la piraterie

AFP: La marine américaine lance un jeu vidéo pour combattre la piraterie | Art en Réseau | Scoop.it
"WASHINGTON — La marine américaine s'apprête à lancer un jeu vidéo en ligne mettant en scène des attaques de pirates somaliens contre des navires marchands, faisant ainsi appel aux amateurs pour tenter d'enrichir sa stratégie contre la piraterie.
Les militaires espèrent que la contribution des civils permettra de trouver des solutions "qui ne nous seraient jamais venues à l'esprit à propos de ce problème géopolitique crucial", déclare à l'AFP Lawrence Schuette, directeur de l'innovation au Bureau de recherche navale, une émanation du Pentagone.[...]"
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My Google Search History, le livre - albertine meunier - 2006-2011

My Google Search History, le livre - albertine meunier - 2006-2011 | Art en Réseau | Scoop.it
"De plus en plus, nos vies, distillées sur les réseaux numériques, laissent des traces. Chaque moment passé sur internet est guidé par des sites d’information mais surtout par des moteurs de recherche, et laisse sur le réseau une petite trace invisible, comme un geste inutile. Jour après jour, notre pratique se répète, les mêmes gestes, les mêmes réflexes, les mêmes habitudes.
De ces répétitions un sillon invisible se creuse qui trace le chemin numérique de chacun. Et l’on se demande : depuis qu’internet existe, combien de temps passé devant le halo d’un écran ? Combien de fois la page d’accueil Google s’est affichée ? De cette page quasi immuable depuis des années, combien de recherches faites ? Difficile à quantifier à l’échelle humaine, tous ces octets avalés. Pourtant certains acteurs du Net, comme Google, ont très vite compris la valeur du chemin personnel parcouru par chacun sur le réseau. Très vite compris que la totalité des recherches faites sur leur moteur parlait de nous tous mais aussi de chacun.

En 2006, Google lance le service Search History et stocke les recherches des internautes. Depuis ce premier jour, albertine meunier compile scrupuleusement ses recherches et les donne à voir au public. Plus de trois années se sont écoulées : les recherches d’albertine mises bout à bout racontent une histoire, la sienne mais aussi celle du réseau.

Avant le livre, il y a ...
My Google Search History à voir et écouter sur internet
www.albertinemeunier.net/google_search_history/
[...]"
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Community and Practice Online - Duncan Malashock

Community and Practice Online - Duncan Malashock | Art en Réseau | Scoop.it
"Since I first became interested in art on the Internet, specifically through groups centered around rhizome.org, I’ve heard phrases like “the Internet art community” used to promote awareness of the field. Although I agree that, in general, online artwork deserves a more comprehensive awareness and understanding, it made me wonder what the implications are of characterizing such a group of far-flung and multifarious artists as a community. Is there any truth to this claim? What makes a community? How are the members of a community involved with each other, and how should they be involved? [...]"
Duncan Malashock
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Spirit Surfers - Kevin Bewersdorf - 2011

Spirit Surfers - Kevin Bewersdorf - 2011 | Art en Réseau | Scoop.it
"[...] What qualifies as a "boon" in Spirit Surfing? Can you describe the physical experience that occurs when you discover a boon?

Try to wrap yourself around this cliché -- if surfing is wandering for 40 days and 40 nights in a desert, the boon is the vision brought back from the quest and the wake is the path of the whole quest's footsteps. The boon is like a jewel, a memento from a moment when the sacred nature of the web was clearly revealed to the surfer. In my experience the boon may spur on a deeper search, provide an idea for some kind of poetic game, sum up an emotional reaction to a particular zone of the web, or just float there like an impenetrable nugget outside of language. A lot of people have responded to the boon and wake separation on Spirit Surfers with confusion, as if there was some right or wrong way to interpret the juxtaposition. Really the boon/wake is only meant to set up a dialogue that, through repeated investigation, might eventually take on its own definition and allow the post to be not just about itself but also about the greater structure around it. On Spirit Surfers we have set up this structure to be continually practiced, and we are only just beginning to figure the conversation out.[...]"
From an Interview with Kevin Bewersdorf
http://rhizome.org/editorial/2008/sep/3/interview-with-kevin-bewersdorf/
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ELSE/WHERE - New Cartographies of Networks and Territories - Janet Abrams and Peter Hall - 2005

ELSE/WHERE  - New Cartographies of Networks and Territories - Janet Abrams and Peter Hall - 2005 | Art en Réseau | Scoop.it
"The new role of maps in the information age.

Else/Where: Mapping explores the importance of maps as aids to navigation, understanding, and cultural representation. Traditionally written by history’s victors, maps are gaining new currency in our information-saturated age as a means of making arguments and processes visible. Mapping technologies today are as diverse as the agendas driving them: the human body is mapped with 3-D software, buildings are mapped with lasers, and cities are mapped by satellite. Else/Where: Mapping proposes—by visual example and written analysis—that mapmaking is a fundamental design process, one that shapes the physical and conceptual dimensions of contemporary multicultural society.

Else/Where: Mapping is the second installment in an international visual/verbal collaboration focusing on the design implications of new technologies. "
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Name.Space - Paul Garrin, Andreas Troeger - 1996

Name.Space - Paul Garrin, Andreas Troeger - 1996 | Art en Réseau | Scoop.it
Domain Name Registrar for legacy (com, org, net) and new gTLDs (art to zone).
"[...]During the "Next5/\Ainutes" Conference on Tactical Media held in Amsterdam in January 1996, Paul Garrin announced an initiative to provide an alternative, free, or at best inexpensive and flexible, means for naming Internet hosts and allowing others to connect using those names. A consortium was formed with system administrators from networks spanning from Scandinavia to Eastern Europe, to the USA, creating a multinational service with a wide geographic presence (the number and geography of the nameservers is important to cut down on excessive traffic over long distances and to insure redundancy in the event of a failure on any of the networks). With the cooperation of these networks, a working rootserver network was initiated, in which server names not included in the database of Network Solutions answered requests with accurate information leading to successful connections to hosts using their newly created names. It enabled us to serve the name.space database plus the InterNIC database to anyone who configured their home computer's settings, with the addresses of the name.space. servers, with no adverse effects on their general Internet use. This opened up the possibility to challenge the existing, bureaucratic system, and provide a desirable change to the cost and sensibility of Internet names[...]"

http://90.146.8.18/en/archives/prix_archive/prix_projekt.asp?iProjectID=2331

http://we.reclaimthe.net/

An interview between Pit Schultz and Paul Garrin about name.space, art and tactical media.
http://www.nettime.org/Lists-Archives/nettime-l-9706/msg00094.html

Village Voice on Paul Garrin and Name.Space
http://www.nettime.org/Lists-Archives/nettime-l-0104/msg00035.html

Paul Garrin [USA]
works as a media artist and has been collaborating with Nam June Paik for a long time. His documentation of the "Tompkins Square Riot" 1988 in New York City is known as the spark which ignited the "camcorder revolution". He has been Artist-in-Residence at the Berlin Videofest in 1990 and has been awarded several highly recognized prizes.
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artwarez: News - Cornelia Sollfrank - site officiel

artwarez: News - Cornelia Sollfrank - site officiel | Art en Réseau | Scoop.it
"Cornelia Sollfrank studied painting at the Academy for Fine Arts in Munich (Prof. Helmut Sturm/SPUR) and Fine Arts at the Hochschule für bildende Künste Hamburg (Prof. Berhard Johannes Blume).

Since the mid 90s, the hacker, cyberfeminist, conceptual and net.artist, Cornelia Sollfrank has been investigating world-wide communication networks and transfering subversive artistic strategies of the classical Avantgardes into the digital medium. Her special interest lies in experimenting with new models of authorship, in continuing all sorts of artistic appropriation, and in deconstructing myths around geniality and originality, Automatically Generated Authorship, audio play (2004). In the core of this strand of works is her concept of the net.art generator, computer programs which re-combine and collage material from the Net. Since a few years Sollfrank makes artistic contributions to the discourse on copyright and intellectual property (Legal Perspective, plug.in, Basel (2004); I DON'T KNOW - a conversation between Cornelia Sollfrank and Andy Warhol, video (2006); MuseumShop (2007).

Another focus of her work deals with collaboration, networking, and communication as artistic practices. Within this context Sollfrank is co-editor of the online magazine for art and critique, THE THING Hamburg. Furthermore many of her works-implicitly or explicitly-include a gender-specific approach. In 2006 Sollfrank started the series revisiting feminist art where she repeats early positions of feminist art. [...]"
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SPEED SHOW vol.1 : TELE-INTERNET » SPEED SHOW - Berlin - 2010

SPEED SHOW vol.1 : TELE-INTERNET » SPEED SHOW - Berlin - 2010 | Art en Réseau | Scoop.it
"The SPEED SHOW exhibition format: Hit an Internet-cafe, rent all computers they have and run a show on them for one night. All art works of the participating artists need to be on-line (not necessarily public) and are shown in a typical browser with standard plug-ins. Performance and life pieces may also use pre-installed communication programs (instant messaging, VOIP, video chat etc). Custom software (except browser add-ons) or off-line files are not permitted. "

"net.art is dead? Long live pop.net.art!
The Internet browser a key element to the success of the web in the beginning of the 90′s has grown mature in the last two decades. Technical development, open standards and open software made the browser a very powerful tool. It seems soon it will take over the operating system and there will be nothing left than apps in the cloud.
It’s about time to revisit net.art in an era of 500 million Facebook user. net.art never really found it’s way out of the media art bubble. The browser was the promising canvas in the early ’90s and is today more then ever capable to do what ever you like. Within the last let’s say 5 years the Internet arrived and became totally mainstream. The social web unfolded it’s power and became part of everyday life of hundreds of millions users. Their massive real time information flow began to have a huge impact on mainstream media and political structures.
The potential size of an audience for on-line art work has grown infinitely large. Technical barriers, limited access, little bandwith or lack of skills are not an issue any more. In an era of Internet memes and 20+ million Youtube views on one video in a day artists need to reconsider the web from a different perspective. A new generation of creative minds picked up the field of net.art and expanded it to the next stage: pop.net.art (coined by Aram Bartholl 2010) emerged under the influence of social web monopolies, highly flexible open software, amateur meme cult and pop culture. A wide range of coders, designers and artists including the pop.net.art experts from F.A.T. Lab experiment in this genre with great success. ‘Classic’ net.art is appropriated and gets remixed with web activism, DIY philosyphy, sharing culture, easy to use browser ad-dons and open source beliebers on a state of the art technical level.
The first SPEED-SHOW vol.1 represents a wide selection from well known net.artists to a young generation of web savy coders and Internet renegades. From youtube interventions and social web critique to pixel celebration and gif.pop 12 artists (or artist groups) will show recent and new works.
net.art never died! It just moved to your local Internet-shop! Come and join the party!"
Aram Bartholl 2010

Produced and curated by Aram Bartholl
Following artists will show new or recent works: Jon Cates (US), Constant Dullaart (NL), Dragan Espenschied (DE), JODI (NL/BE), Geraldine Juarez (MX), Tobias Leingruber (DE), Olia Lialina (RU), Moddr (NL/AT/RU), Johannes P Osterhoff (DE), Evan Roth (US), Ralph Schulz (DE).
- Paul Slocom (US)
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WJ-SPOTS / histoire, futur de la création artistique sur Internet - La Gaité Lyrique -

WJ-SPOTS / histoire, futur de la création artistique sur Internet - La Gaité Lyrique - | Art en Réseau | Scoop.it
"WJ-SPOTS est un dispositif de conférences imaginé par Anne Roquigny, où des artistes, critiques, penseurs, inventeurs, chercheurs, commissaires artistiques et organisateurs d’événement font un point sur l’histoire et le futur de la création artistique sur Internet.

L’événement WJ-SPOTS organisé à la Gaité Lyrique, dans le cadre du festival Mal au Pixel, est l’occasion de rencontrer des personnalités internationales qui commentent et analysent manière dont les artistes investissent le réseau comme un espace de création : créations en ligne, œuvres collectives, net.art, sofware art, code art, ascii art, flash art, google art, twitterart, facebookart, tactical media, locative media, art telematic, performances en réseau, hybridations entre l’espace physique et l’espace virtuel...

Les conférences WJ-SPOTS sont organisées au sein du dispositif multiécrans WJ-S, transformé pour l’occasion en un espace de réflexion. Les interventions durent une quinzaine de minutes chacune, les participants sont soit physiquement présents ou interviennent à distance en visioconférence.

Une navigation dans une sélection de sites Internet emblématiques choisis par les invités est réalisée simultanément par Anne Laforet et Isabelle Arvers sur 3 grands écrans. Le surf live dans ces contenus en ligne est une vision augmentée de la pensée des invités.[...]"
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Goodle - Julie Larrouy - 2011 - Des dessins de, à propos de, contre, pour, via, dans Google

Goodle - Julie Larrouy - 2011 - Des dessins de, à propos de, contre, pour, via, dans Google | Art en Réseau | Scoop.it
"Goodle réunit des dessins réalisés quotidiennement à partir de la page d'accueil de Google et d'images recueillies sur le moteur de recherche en question.
Des dessins de, à propos de, contre, pour, via, dans Google."
« Google est un avatar, une aide permanente, une âme numérique, le nouvel accompagnateur spirituel qui ne nous quittera plus, sera là en permanence. C’est un dieu spinozien sans finalité mais qui veut être là, ne pas disparaître de notre propre paysage numérique ou autre.»Ariel Kyrou, Google god.
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HIBI NO NEIRO - Sour - MASASHI KAWAMURA - 2009

HIBI NO NEIRO - Sour - MASASHI KAWAMURA - 2009 | Art en Réseau | Scoop.it
'Hibi no niero' (Tone of Everyday) is the 3rd music video created for the Japanese band 'Sour'. The cast were chosen from Sour's international fan base and filmed entirely via webcams.

The song is about discovering your own color or voice in this world. It speaks about embracing your individuality in order to open yourself up to what the rest of the world has to offer.

The webcam provided the perfect medium on which to explore this notion. Not only did it alleviate the challenge of the non-existent budget but it also overcame the fact we couldn't film the band in person, given the fact the band live in Tokyo and we all live in New York.

Millions of people use webcams to express themselves everyday. What if these individuals were given the chance to collaborate? We thought the result could be pretty powerful and something that no one had seen before. [...]
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