Conservation & retrieval
Lost net-art & retrieval
Since the nineties many net-art projects went obsolete due to link fail, lost services, damaged code, or incompatibility with players/ browsers. Net-art.org aims to collect traces of these lost net-art projects: url's, code, screenshots, user experience, artist statements etc. This digtal archeology project for lost net-art will be exhibited in the Digital Mortuary.
For suggestions or contributions please use the contact form or send an email to pimpeterse[at]net-art.org
Anne Laforet is writing her PhD thesis on "The preservation of Net Art in museums. The strategies at work."
PhD thesis "The preservation of Net Art in museums. The strategies at work."
under the direction of Jean Davallon
University of Avignon, France
(text in French - soon available to download under a free license + links + bibliography)
summary : Read more »
WYSOCKA, E. Agatha Re-Appears, net art resoration project, 2008
Restoration Project: Olia Lialina’s early net.art piece “Agatha Appears” from the Collection of C³ Center for Culture & Communication Foundation
State of the artwork before the restoration.
Work was originally created for Netscape 4.0 browser in HTML 3.2 language and real audio sound format. Original files have become incompatible with contemporary browsers and work was no longer available in its previous, interactive form.
Due to corruption and disappearance of some files, sections of Agatha's trajectory got lost and so was the original idea of the piece
Read the whole article on INCCA WYSOCKA
The aim of this essay is to draw restorers' and theorists' attention to the phenomena that exist in virtual space. This should be associated with a very specific type of restoration that unfortunately does not yet exist in practice or exists in its amateur form. This means research related to the restoration of net art (net.art, internet art). It is likely that the significance of this art will increase only at the beginning of the next millennium. A question will arise how to save things that have already lost their form.
The significance of net art security is viewed through the eyes of a restorer in this essay. Based on the realisation that virtual phenomena are intangible, attempts have been made to clarify technical possibilities to preserve this art. Because of this, there have been no efforts to identify the things that should be preserved and things that should be simply rejected.
Mortuary of lost net-art
This mortuary of net-art displays links to lost net-art projects. Do you know or remember vaguely one of the pieces please leave a comment or submit a url where the piece can be seen.
Net.Art on the net.
Existing on the internet is Net.Arts biggest strength and at the same time is its biggest flaw. It
is available for everybody, everywhere and at any time, a reason for Net.Artist Olia Lialina to
say: we dont need a museum, as long as its out there. This sounds fine, but unfortunately
there are several problems with being out there. (Lotte Meijer.)
Read the paper The many locations of net-art(pdf) by Lotte Meijer.
When the Internet emerged as a mass global communication network in the mid-1990s, artists immediately recognized the exciting possibilities for creative innovation that came with it. After a century of unprecedented artistic experimentation, individuals and groups were quick to use the new technologies to question and radically redefine the conventions of art, and to tackle some of the most pressing social, political, and ethical issues of the day. Covering email art, Web sites, artist-designed software, and projects that blur the boundaries between art and design, product development, political activism, and communication, Internet Art shows how artists have employed online technologies to engage with the traditions of art history, to create new forms of art, and to move into fields of activity normally beyond the artistic realm. The book investigates the ways Internet art resists and shifts assumptions about authorship, originality, and intellectual property; the social role of the artist; issues of identity, sexuality, economics, and power; and the place of the individual in the virtual, networked age. Throughout, the views of artists, curators, and critics offer an insider's perspective on the subject, while a timeline and glossary provide easy-to-follow guides to the key works, events, and technological developments that have taken art into the twenty-first century.
200 illustrations, 100 in color (read a selection: Internet art(pdf) Read more »
First Monday, Special Issue #7: Command Lines: The Emergence of Governance in Global Cyberspace
Digital art has expanded, challenged, and even redefined notions of public art and supported the concept of a networked commons. The nature of agency within online, networked “systems” and “communities” is crucial to these developments. Electronic networks enable exchange and collectivist strategies that can question existing structures of power and governance. Networks are public spaces that offer enhanced possibilities of interventions into the social world and of archiving and filtering these interventions over time in an ongoing process. Networked activism and tactical response as well as artistic practice that merges physical and virtual space and augments physical sites and existing architectures are among the practices that are important to the impact of digital public art on governance.
Net art, net.art, Internet art, Web art, online art... whatever you call it, the concept remains the same: Net art is art that uses the Internet as an artistic medium, and which could not exist without it. The latter characteristic distinguishes it from art that merely appears on a web page. Net artists engage with the Internet as a medium in the same way that painters use paint and musicians use music. And like the fields of painting and music, net art can be as creative, as personal, as political, as forceful or as playful as the artist desires.
This pathfinder is designed to provide introductory research tools to the newcomer to net art. Read more »
Ten Myths of Internet Art
by Jon Ippolito
This article identifies ten myths about Internet Art, and expalins the difficulties museums and others have understanding what it means to make art for the Internet. In identifying these common misconceptions, the author offers insight on successful online works, provides inspiration to Internet artists, and explains that geographical location does not measure success when making art for the Internet. The article also mentions that the World Wide Web is only one of the many parts that make up the Internet. Other online protocols include email, peer-to-peer instant messaging, video-conferencing software, MP3 audio files, and text-only environments like MUDs and MOOs. The author concludes his list of myths with the idea that surfing the Internet is not a solitary experience. Online communities and listservers, along with interactive Internet artworks that trace viewers and integrate their actions into respective interfaces, prove that the Internet is a social mechanism.