Net Art Part 2

Anne Marie Schleiner's curation writing provides insight with different scenarios that clarify the role of a net artist. Once again, I found the humor, specifically ironic humor to feed my interest in this writing. With Artists X, Y and Z leading examples of the life of a Net Artist, I also saw how these different ways of working overlapped with some of the other contemporary art practices today. As mentioned in a previous blog entry, I see a continued parallel between Bourriaud's relational aesthetic theory to the experimental, interdisciplinary, and collective workings of Net Artists. Bourriaud's curation of the show Altermodern at the Tate Britain showcased various works of art that demonstrated his belief that post modernism is dead.

Here is Bourriaud's Manifesto to the Altermodern Exhibition:

A new modernity is emerging, reconfigured to an age of globalisation – understood in its economic, political and cultural aspects: an altermodern culture

Increased communication, travel and migration are affecting the way we live

Our daily lives consist of journeys in a chaotic and teeming universe

Multiculturalism and identity is being overtaken by creolisation: Artists are now starting from a globalised state of culture

This new universalism is based on translations, subtitling and generalised dubbing

Today's art explores the bonds that text and image, time and space, weave between themselves

Artists are responding to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expression and communication.

The Tate Triennial 2009 at Tate Britain presents a collective discussion around this premise that postmodernism is coming to an end, and we are experiencing the emergence of a global altermodernity.

Liz Filardi is one of the Net Artists who is also working within these parameters. Her work I' Not Stalking You; I'm Socializing: Facetbook is a playful, yet critical look into global, social networks, specifically Facebook. I could relate to Filardi's anxiousness over the constructed identities portrayed through these self-focused Internet venues. It brings to attention psychological aspects of identity presented to the public through on the web. In addition, issues of the the spectator and privacy are apparent in Filardi's exploration of multiplicity, identity and the inter-connectivity of the world wide web. Liz's work takes form through social interventions and performance. She engages with other people by exploring boundaries through everyday experiences of communication.

The work Yeas and Nays by Christian Croft provides a web plug in in order to create an interactive platform for viewers/users.
Croft explains:
"Yeas and Nays is a space that tranforms any webpage into a means for contacting Congressional representatives. Using Yeas and Nays, a citizen can connect via phone to speak with her representatives, and the resulting shift keeps a record of the call located on the website that informed it."
This brings to mind the notion that the viewers of Net Art also partake in their active role as an Internet user. This reminds me of the piece The Machine is Us/ing Us. Both these pieces point out the power of collectivity that feeds the Internet and of course in effect, Net Art. The Yeas and Nays allows the viewer/user the opportunity to partake in the creative process and as a result produces the work in a collaborative effort. It allows for activism to become embedded in the interactivity of the passive Internet user. I am also interested in the DIY (Do it Yourself) component of the piece, which seems to work on another level of empowerment by providing a means for enhancing the users Internet fluency.

Early Internet Art

The manifesto by Bookchin & Shulgin comes across as a mockery of the traditional art system. There is a humorous element that came into their description, guidelines and instructions for defining Internet art. Perhaps, this colored my playful perception of the examples Internet art that followed my reading of the manifesto. These ideas also reminded me of some of the contemporary art theories that have come to envelop what is know as socially engaged, community or site based works of art. Other parts of the manifesto were simply rules that any individual of any course of work could follow. It is rather accessible to a technologically based society member to comprehend. But also contained lines that could not be understood by a person who did not have experience with a computer. This makes it an exclusive type of art. The way that the manifesto called to do away with the institution foresees free internet enterprises such as google, facebook, myspace.

In Beyond Interface, the artist Udi Aloni states that his piece Re-U-Man "is a structure that helps me send my fragmented 'I' to you (plural) and re-collect your commentary, for me to speak again in a way that might surprise me." This was of particular interest to me as it spoke to the constructed identity that a member of Facebook creates for their Internet community. The Facebook Internet community also contributes to the construction of each participants identity, as they leave comments, photos, etc to connect to each member of the website. This relates to the following line in the manifesto: "Expansion into real life networked infrastructures."

Also, within the Beyond Interface site, I found the work, GrammaTron by Mark Amerika. This piece is a great example of the manifesto's ideas about embracing the crossing of disciplines through its use of sound, internet images and poetry. The length of the piece seems requires the viewer's attention to span through time. It gives the viewer an opportunity to focus attention on a cohesive piece that makes sense, rather than a chaotic over stimulation of elements that viewing some of the Internet art provided. The progression of chapters from the initial website into the second site provided a nice layered effect. A universal perspective on the connection of the Internet was portrayed through the poetic text that guided the piece. The images and text also revealed a sexual content that speaks to the voyeuristic and exhibitionist tendencies of the Internet. Finally, Amerika's style recalled the sound and performance work of Laurie Anderson, specifically the piece
O Superman.

Digital Narratives

In considering the framework of a digital narrative, the automatic comparison to a book came to mind. In the same way that Bush's predictions of the Internet resembled a digital file cabinet, I began to consider the computer in comparison to a book. The hard back and spine of the book's contents are carried through the user's computer. The pages translate to the pages explored within the Internet. However, I find myself struggling with the satisfaction of the tactile experience of reading a traditional narrative contained within a book as conveyed through a digital, interactive narrative.

In Leischman's "redridinghood," I found myself a bit over stimulated by the interactive component. The work felt much like a video game, but did not drive my engagement as a viewer in a way that kept my interest. This version of the classic story did not give much more in terms of depth, even through the stimulating presentation. I searched for reasons why this story needed to be portrayed in such a fashion, somewhat like when a book becomes a movie and the movie does not offer anything more than the original text.

As noted within my previous blog, I am increasingly aware of the lack of physicality that is inevitable within the world of technology. While it seems that the digital age has brought with it possibilities for staying closely connected with others, the genuine experience of being in touch and intimately relating with others feels disconnected. Laporta's "DISTANCE" reveals the issues of immediacy and a virtual presence with another person. This virtual presence is counteracted by the notion of real time and space. Laporta's piece offers narrative through text and recorded online video images, which describe the dual nature that technological advancements have on communication and the relationships that exist within.
Some of the narrative words that struck me and spoke to this duality follow:

IMMEDIACY, INTIMACY, RESPONSE, IMAGINE, TECHNOLOGY, VEIL, REFLECTING, PRESENCE, GAZE, TIME, SEARCHING, FUTURE, VIRTUAL, REAL, CLOSER, FURTHER

Young Hae-Chang Heavy Industries' DAKOTA reveals an captivating play on text and viewer comprehension. I found this digital narrative most compelling. It allows both space and clutter to activate the words of the narrative script. It made me reflect on a recent visit to the International Center for Photography in New York. The exhibit, "For all the World to See: Visual Culture and the Struggle for Civil Rights" was of particular interest. I especially enjoyed the straightforward use of text on the civil rights movement posters that were included in the exhibition. I have been reflecting on text as a tool for mass communication, which relates to the widespread use of the Internet and digital tools for communication. It seems that these practices aim to reach a wide population through its accessibility.

I can't help but consider the human populations that do not have access to the Internet and others forms of technology. I question if they are really missing out on anything. So often, we see charity work that aims to help underdeveloped countries and I wonder if is actually helping or taking away from these cultures. The self-important focus of the Internet forums seem out of place in cultures where community is interwoven into basic needs for life. This way of life seems to promote a more genuine form of connectivity to me.


Barbara Kruger's work uses text to speak about the influences of mass media on the public.


Lawrence Weiner's work uses language as a sculptural material. He makes work that is designed to be translated.


"Dakota" also recalled John Cage's experimental work in performance and printmaking. I made another connection to the Beatniks (Beat generation) due to the rejection of materialism that I percieved in Young Hae-Chang Heavy Industries' piece.

Bush and Benjamin

In his writing, As We May Think, Vannevar Bush speaks of the advantages to scientific developments beginning with the effects on our daily lives. He states that the basic needs of food, shelter, clothing have all been improved by the advancements of science and technology. I am challenged by this notion, as I observe in current time that there have been environmental and social deficits as a result of the overwhelming rise in technology. Later, Bush claims that "the effort to bridge between disciplines is correspondingly superficial." Here again, I struggle to see this perspective due to my interdisciplinary nature of working in the arts. Artist Mark Dion challenges the role of specialists in both the areas of art and science.

Bush also speaks about Leibnitz inventing a calculating machine. In this example, he discusses the economics of labor being against the invention before the arrival of mass production. In addition, he points out the unreliability of the object. This compares greatly to today. As we fight a war on oil, we still have yet to use technology to resolve related environmental problems by creating new ways for transportation.

I understand that the specialization of a field is also important, as in the case of the arts. Specifically, Bush foresees the accessibility of photography. Photography has become so widespread that everyone is a photographer who “takes pictures.” While I do not consider myself an elitist, I believe that photography, like all image-based media should be crafted. In this craft, both the skill and intent of the photographer is relevant. As I write this I think about camera phones and argue to myself that these picture can also be taken with intent and not much skill, which brings me back to the history of photography. Knowledge and understanding, or specialization of the medium is of significant importance. Going back to my original argument for interdisciplinary art, I want to note that in this practice I am working collaboratively with other specialists in other fields in order to gain a fuller vision, awareness and understanding for the subject of the work.

Many printmaking processes foreshadowed the production of lithography, which allowed for the recording of everyday images. Development of reproducible images has advanced through to photography and beyond. Like Bush, Benjamin has an early prediction of the power that technology would take in the everyday world. Both speak to visions of technological advancements that science will promote.

While I feel that these arguments in favor of scientific developments and industrial practices leave me with an appreciation for the tools of my craft, I am torn by the negative side effects. This includes the superficial connection that exists in technologically based societies, as well as the detrimental effects on the Earth. This reveals a strange exchange between the physical world and the 4-D (spatial) world. It seems that we are forfeiting and ignoring our physical needs as human beings, including the survival of our human population and the natural world of animals and plants.

In his A Work of Art in the Age of Mechanical Reproduction, Benjamin claims, “Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.” This coincides with the way of life that has occurred since the advancements of technology have dominated human life. Then he states, “The presence of the original is the prerequisite to the concept of authenticity.” To further this idea I would like to propose that our current state of being needs to return to older traditions that reconnect us to the root of our existence, the Earth.

art to consider

Studio 360 - Peggy Diggs

Temporary Services

Team Record

Jack Rabbit Homestead

VJ-Play and more

My recent explorations with live video remixing have been fun. I have enjoyed the playful experientation that takes place in this practice of digital arts. I am still unsure of how this medium can be used appropriately in my work, so that the concept fits this process and it does not come across as "eye candy."

I found Phil Soloman's work with machinma extremely powerful. It held a poetic beauty that worked withthe medium in a conceptual way. His work was also beautifully crafted. I enjoyed his presentation immensely, as he reavealed a narrative that gave further insight into the emotional intensity that speaks through his machinma works. Even without the explanation, the work spoke clearly. The work is accessible without knowledge of the technology that is used to create it. While this holds relevance, I think that it is even more powerful that it stands out in its artistic form without attachment to it place in the machinma realm.

Remix Short Essay

A form of open content is valid in today’s society. This alternative to copyrighting has the potential to allow for an honest approach to appropriation. I am most certainly in favor of this idea of the democratization of knowledge. The copyright seems to limit a collective, creative consciousness. It creates boundaries and gives permission to only an elite few who can pay for this privilege of use. However, taking away all personal, intellectual rights devalues individual creativity. Utilizing the space in between these two extremes of individual and collective ideas, allows for respect of the individual and openness to collaboration.

Many times people are unconsciously influenced by a song, image, or phrase. These are forms of communication. The spoken tradition of storytelling brings us back to the roots of sharing, which is found in these like writing, music, and visual arts. This experience of sharing ideas is common to people of society.

I have observed that it is very common for young people to be unaware of the volume of borrowing in which they engage. In addition, there is a lack of consciousness to the history, which influences their claimed identity. I believe that all people should be privileged in having access to information and an understanding of history, as it encourages respect of the individual. Open content has its challenges such as promoting a weak work ethic and a lack of education. I think that people should recognize the history of the lyrics of a song, or iconic images and pay due respect to the original creators. Breaking the laws, and piracy are becoming more of the norm, like that of prohibition. It seems that there needs to be a shift in this system, which would allow for more freedom, honesty and an understanding for the past. This would promote remixing or reusing in a genuine way.

While open source devalues the monopoly of one individual, or closed organization, it allows for collaboration and empowerment of people through accessibility. Restricting freedom leads to breaking laws and dishonesty. Alternatives such as free culture allow people to make honest choices. The rise of the Internet and consumer culture already permits accessibility, which contradicts the restrictive nature of copyright and intellectual property. Originally copyright was put in place to protect the artist from another claming their work to gain recognition or earned income. Executives need a means for control and got carried away because they felt their power slipping away with the accessibility of media.

This open context of intellectual property does pose challenge for the artist to take credit for their labor. Stolen property is not the solution, but respectful borrowing of ideas should be acceptable. This would take a redefinition of antiquated copyright laws. Redefining what is acceptable in terms of copyright is appropriate. Creative Commons provides a good balance between these polar opposites of open content and copyright.

Imitation is a sincere form of plagiarism. It allows for creativity to sprout with respect to what is being imitated and allows for growth beyond this initial creative inspiration. It is like looking up to a role model, or learning from the past. In my mind, there is still much to be learned from the past and applied to the present.

Shepard Fairey’s work is a great example of appropriation. He began by using Andre the Giant as an authoritative figure in his work that critiques propaganda. This iconic figure is connected to a message that reads “Obey.” His images draw from the past and are placed in a new form within a contemporary framing. In this way he reminds us of the history of social issues, such as war, and places them in society like past propaganda art that promoted war. A difference lies in the message to the public. Fairey is asking society to question the acceptance of issues like war through his appropriation of war images. This is unlike the politicians’ who use propaganda as a brainwashing technique to bombard the public with images that promote war.

Through another lens, Fairey’s iconic images recall the message of Lessig, as he suggests that people make art, not war. This message echoes the idea that instead of fussing and fighting over territory, (literally speaking or metaphorically speaking in terms of an icon on cyber space), it would be more productive to allow others to creatively remix or collaborate. Creative expression is freedom. This freedom is empowering and this power creates a struggle for control in the war against open content.

Remixing in my creative work has occurred naturally. Just as any creative being, I am influenced by other artists. Recently, during two separate occasions, I was given opportunities to work closely with some of my favorite artists. We shared fundamental values and thematic issues in our work. On both of these occasions, these artists suggested for me to reuse their approaches in my work, which felt uncomfortable as first. Then, I remembered times when I observed a peer remixing ideas that I had shared into their own work. On occasion, I heard, “I guess, you inspired me.” This acknowledgement melted my bitterness away. This is the best response and the intent behind my creative endeavors. To inspire thinking is a great achievement and a goal of my work as an artist. I rather not take another person’s creative endeavors or achievement personal, even if it hits close to home. Even if we try, we cannot be anyone but ourselves. Sharing ideas and values with another can be an empowering experience when treated with respect and integrity. This openness permits innovation.