net.art spaces
by atty
For 'net.art' to begin with I
will mean creative expression thought the medium of the internet (the
TCP/IP controlled 'world wide web' communication system between computers,
and their users, and the applications, from Mosaic onwards http://www.blooberry.com/indexdot/history/browsers.htm,
built to 'browse' this network). But this definition is something that
I need to discuss further later.
atty arrives in net.art
My own finding of and arrival in 'net.art' was curious and maybe
instructive.
Having picked up on the existence of the internet at quite an early stage
in 1997. I was hassling my then employer to add design for web to their
existing business of design for print. In the course of this campaign
I made a number of demo html pages that were well beyond the confines
of conventional commercial design for web at the time so I was primed
for what I was about to discover. After a visit to a friend who was editor
of the architectural publishers, ellipsis I thought I heard another visitor
in his office recommend to him a website called e13. So that night
I went home and checked this URL. After a quarter hour of struggling to
apply the usual rules of 'click-thru' self evident web navigation to www.e13.com (appears to have
disappeared
just about) I eventually relaxed and went into seriously exploratory mode. Maybe
I spent half an hour on the site tasting for the first time the
concepts of material on the web that was not simply the transmission of information
(even if 'decorated'), a site that took various icons of the
early apple mac computer, chopped them up, contained little disconnected image
and movies of street scenes randomly assembled. There were links
that were named with random key combinations that led to other random
links before something more 'meaty' was arrived at, and then that would
lead off into more non-sequita episodes of links across the site, maybe
in circles, maybe into dead ends. In other words a garden of delightful
irreverence for the original intention of the WWW scheme, the intention
of creating a system for the scientists (Tim
Bernes-Lee at CERN et al) to communicate
scientific matters between themselves across the world wide network of
their computers. And at the same time to www.e13.com
was
a site which said something to and about the new computers that we (as
'creatives') were starting to use everyday for designing and creative work, for
instance the ability of these machines to store many totally unrelated snippets
of information, text and image formats, that in an instant could (due to
any number of possible operator errors and 'malfunctions', sad mac faces
etc.) fall out of the ordered directories the user may have constructed
for them to become a meaningless jumble OR indeed find a new pattern that
would reveal by accident some new relationship.
Having
been around at least some corners of e13.com and enjoyed it, I started
to work through the list of links to other URLs that was on e13. I remember
visiting Ben Benjamin's site, www.superbad.com
which likewise tickled my fancy, and also maybe through a link to a link,
Olia Lialina's work, of which more below.
The irony is that the next day after my visit to to
www.e13.com when I
returned to the ellipsis office and excitedly reported my findings I was
told no mention of an URL, e13
had been made the day before, no one else had heard of it. So
I had stumbled on an endeavour by a group of 'artists' to which I was sympathetic
which has turned out for me to be a 'life-changing' encounter totally
through serendipity > which is illustrative both of the nature
of surfing through the jungles of information on the web in general and
is also pertinent to the central theme of this text, the creation and
sign posting of 'net.art' spaces or meeting points. I still don't
know who are or were the creators of to www.e13.com
, they don't seem to be people who have
continued along the same cyber pathways that I joined at that moment.
The
person whose work made the most immediate impact on me was Olia Lialina
with her net story http://myboyfriendcamebackfromth.ewar.ru
(1996). It doesn´t use the familiar 're-mix' or 'found' object approach
of much of early graphic net.art but it does exploit the then brand
new 'frames' HTML tag to create an exploratory field of narrative across
which the user must roam in order to expose the entire story, and more
importantly this technique using a mixture of hypertext links and one
bit gif images that actually serves perfectly the mixed and distraught
emotions of the girl and boy reunited 
when
he comes back from war (at the time, presumably the Russia v Afghan War).
And here was a work which communicated the cumulative horror across a
society at war in an insidious and poetic manner, so while perfectly using
the visual and textual tools of the early HTML format spoke about a matter
totally removed from the instance of the internet or computer communication
in general. Thus this piece demonstrated and proved that this new means
of expression was able to speak to a wider audience, people arriving without
a prior understanding or knowledge or interest in the internet or computing,
demonstrated that net.art could go beyond to the 'human' instead
of sticking with the self-referencing and 'content safe' navel-gazing
of much of net.art.
I was not the only person struck by this piece, as can be seen from this
URL,
it has actually spawned a number of re-mixes by somewhat well known friends
of Olia in manner that I don't think any other piece of 'net.art' can
claim.
'AGATHA
appears' another piece by Olia does deal with the workings of the new
medium, the internet and tells a story concerning the promise of a systems
administrator to send a lost little country girl back home teleporting her
via the internet. The technique employed here is to use the 'alt' HTML
tag where a text message is revealed attached to images as they are mouse-overed
and the status bar message in order to convey the story. The treatment
is light and humorous, again unlike the self reverence and self importance
of many other net.art works that followed in the next years and
which treating various aspects of the working and socio-economic politics
of the budding (and booming) internet. Indeed the false and ridiculous
promises of the system administrator such as "the internet ia a new philosophy"
and the internet "will make everybody happy" are uncanny in that the piece
pre-dates the real build up of dot.com hype. A typical exmaple of how that hype infected net.art would be this only slightly ironic passage from a speech by David Ross, director of the San Fransisco MOMA given in March 1999
(In later times Olia also
used the piece as one weapon in her involvement with 'No borders' campaign
against the construction of Fortress Europe.)
Net.art in the Age of Digital Reproduction - Lecture on net.art by David Ross Director of the SFMoMA
atty starts net-art.ws 'net.art' open arena
'AGATHA
appears' appeared high in the list in my own personal next step into
the net.art realm which was my starting of the 'annual open net.art
arena' at http://www.net.art.ws
That is Olia with 'AGATHA
appears' appeared second in the first
edition of the 'contest'.
How the 'net.art arena' happened was that after collecting 30 or
so 'net.art' site links and telling as many people as I knew who I
thought would be interested, then I wondered how I could put this list
to further use. By this time I was working as professional commercial
website builder and designer, and had learnt how to make database driven
web pages and I thought as this was a skill not at all prevalent in the
ranks of net.art at the time I could add this resource to the community
pot. So I had the idea of starting an open online 'net.art' competition
with people
able to nominate into a database their own or others' work completed in
that year. Visitors (as 'registered voters') would then be able to go through
the resulting list and after visiting listed sites give some votes from
ten to minus five for or against the project they had just visited before
continuing to the next.
From the first the overt aim of this project was to provide a totally
open arena or space through which those working creatively with the media
could get more exposure for their work as well as getting some kind of
primitive feedback or applause. And this aim also immediately included
the remit of being a counter weight to the emerging assembly of professional
curator run and jury judged net.art competitions and institutional
shows and festivals.
net.art definition
A critical question from the start of 'net.art' arena was the definition of
what was allowed into this arena. We
had a panel of referees to decide on this and see fair play (voting) but
what rules to abide by. Eventually we choose those delineated by Natalie Bookchin and
Alexei Shulgin quoted below. Its worth going through this carefully to notice
that due to the date at which they composed this, already we see some
items included to cope with the dilution of the pure 'net.art'
of a few years earlier
(SOMETHING THAT WOULDN'T WORK AS WELL OR AT ALL IN ANOTHER MEDIA)
This can be because of the form the work can take:
such as
2. Giving the Illusion of Choice (addressing/reflecting on "Interactivity")
3. Multiple Data Streams
4. multimedia
5. Formal elements specific to the web or the graphical user interface (forms, windows, etc.)
or because its addressing subject matter unique or specific to our high tech times such as:
Alexei Shulgin, "Remedy for Information Disease"
As I remark above, these rules
have been designed to let some developments in that sneak beyond a purist
definition, examples are 'multimedia' which can allow the inclusion of video
delivered through the Real Video and Quicktime plugins, often without any
strictly interactive function, pseudo or otherwise, and the item concerning
subject "matter unique or specific to our high tech times" which can
let in a host of projects not otherwise fufilling the other requirements of
this definition, but deemed to be within the territory of or of interest
to the budding 'net.art' community, because either referencing it
or even simply that the creator operates within the 'net.art' community
network.
What these wooly inclusion clauses underline is the transition of the
internet as a medium of expression from a narrow constricting medium to
a broad church allowing many different means of expression and formats.
There has been a transition in less than five years from a stage where
users/producers needed to be extraordinarily adept at improvisation, innovation
and invention, equipped with little other than a text editor, originally
only able to compose images using fixed width ASCII type to a stage where
a multiplicity of formats and applications overwhelm the user with choice,
forcing him in many cases to become a specialist (in video, or audio,
3D etc.). In each of the burgeoning number of formats supplying content
for the web via audio, video, text, still images, 3D, panoramic images
etc. there are usually four or five competing applications to originate
and edit with. So for instance the Flash application and plugging which
brought vector animation to the internet user (as a plugging to the main
browsers) progressed by the issue of version 6 ('MX') in 2002 to a stage
where it included suggested different setups for designer v. developer,
team v. solo project etc. with different functionalities exposed in the
application.
The Heroic Age of net.art
Shulgin and Cosik
Quote from jodi
- "The almost immediate impetus as soon as this new
method of communication arrived was for people attempt to find a language
of expression other than simply words, that was native to this new medium.
Prior to the inclusion of image file tags to HTML 1 this resulted in
transmission on bulletin boards of
Not to re-present work from other medium on the web but to find the natural language of expression of this new medium"
The core group of 'Heroic Age'
heroes as defined, again by Vuk (in effect the 'ASCII ensemble'), would
be
Vuk Cosic
SL
Alexej
Shulgin RU easylife seems to be closed
Olia Lialina
RU
Heath Bunting
UK
Jodi NL
but to this nomination other people would include a number of other 'founders'
or pioneers, often of a slightly later date of involvement and of their
own choice, for instance (my own choice)
Peter Luining
NL
Michael Zamyn
BE
Auriea Harvey
US>BE
e13 US
Ben Benjamin US
Mark Napier US
Jeff Gompertz (Fakeshop)
US
Josh
Kimberg (Bullseye Art) US
Jef Snarg
US
Here my own choice also reflects the drift trans-Atlantic perceptible by the time of my own arrival at 'net.art', a drift from an earlier Eastern, ex Soviet Bloc inception and conceptualization to a New York City focus. So I guess at this stage we need to identify how that cross Atlantic migration happened and what are its consequences. Some commentators provide very simple explantion for the East European early involvement (and later shifts). For instance this from Lev Manovich writing for the exhibition notes of 'Tirana Biennale 01'
- This was quite different from many early net art exhibitions of the middle of the 1990s whose stars came from the East: Vuc Cosic, Alexei Shulgin, Olga Lialina. 1990s net art was the first international art movement since the 1960s that included east Europe in a big way. Prague, Ljubljana, Riga, and Moscow counted as much as Amsterdam, Berlin, and New York. Equally including artists from the West and the East, net art perfectly corresponded to the economic and social utopia of a new post Cold War world of the 1990s.
Now this utopia is over. The power structure of the global Empire has become clear, and the demographics of Tirana Biennale 01 Internet section reflected this perfectly. Many artists included in Tirana Biennale 01 Internet exhibition work in key IT regions of the world: San Francisco (Silicon Valley), New York (Silicon Alley) and Northern Europe.
What happened? In the mid 1990s, net art relied on simple HTML that run well on both fast and slow connections - and this is enabled active participation of the artists from the East. But the subsequent colonization of the Web by multimedia formats - Flash, Shockwave, QuickTime, and so on - restored the traditional West/East power structure. Now Web art requires fast Internet connections for both the artist and the audiences. With its slow connections, East is out of the game. The Utopia is over; welcome to the Empire.
from flash generation Lev Manovich
However I think the reasons for the original location
and this later immigration of focus are many and various
compared to this simplistic answer of bandwidth.
There were aspects of
Soviet Bloc social and political organisation such as relatively extensive
state funding of the arts running alongside paths of communication and
association defying state and business prescribed channels, plus enforced
improvisation in matters regarding computers and computer programming
that probably made the ex-Soviet bloc the site of choice for net.art
inception. To hilight just one important source of inspiration for both
early and contemporary net.art, the 'demo scene' pre-dates net.art and
had its origin and centre in the northern Eastern Europe countries, Poland,
the then Czeckslovakia, East Germany (but with an input form the UK).
The 'demo scene' was the practice more or less enforced by those who
wanted to use sound and graphics on computers in the Eastern Bloc, due
to the relative scarcity and lack of computing power available to them,
of writing exe (application) running under DOS or similar basic operating
system depending on platform (as opposed to applications running inside
WIndows). This growth of the scene in the Soviet Bloc was also helped by
the tradition of state sponsored competitive programming (and hacking of
western software) and in the West by sponsorship of demo parties or competitions
by game production and video board constructors. Thus the training of the computer literate in the ex-Soviet bloc was peculiarly suited to exploiting the very limited tools and bandwidth of the early internet.
In addition one of the
main past and on-going inputs, not only for net.art but also for the internet
as a whole, of the demo scene (and ex-Soviet Bloc computing in general) is
the anti-for profit, anti-state and anti-corporate motivation, the
competitive yet open ethos of eastern european computing practice. The
propagation of this ethos is accomplished not simply through communication
of the ideology but also by the actual on-going battle between hackers and
crackers versus the western software producers, a battle that in terms of
units of software shifted and used probably worldwide the hackers/crackers
(and the open source community in general) continue to win. The impetus
for this propagation on a more personal scale and the particular
attraction of the internet for inhabitants of the then and now ex-Soviet
Bloc is to cross initially virtually, but if possible non-virtually, the
border (the ex Iron Curtain) into the 'West'.
Aside from these 'practical' reasons for East European and wider European background to the acknowledged progenitors of net.art one should remark that when the American art establishment looked round for early practicioners to cannonize and intellectual theories to sanctify net.art it was almost instinctive on their part to turn to 'Old Europe'. It was and is a well worn and easy path to tred, laid out by the Guggenheim Museum et al for Modern Art in general, and again in the case of Hollywood. Equally given on this path is that the destination and objective should be to end with a 'progressive' movement across the Atlantic in the US and the deification of US practicioners as the 'ultimate' artist/hero individuals.
EAST 2 WEST
So from this suitably prepared spawning ground of Eastern Europe, Vuk
et al emerged bearing the equivalent of the Ten Commandmants of net.art.
How and why that defintion hopped the Atlantic to be almost as revered
there, and to form a core part of the ideological baggage of the net.art
community (as 
exemplified
by NYC based net.art community hub http://www.rhizome.org,
founded in 1996) needs some explanation.
To a certain extent those already experimenting wth the internet as an expressive medium elsewhere than Eastern Europe where primed and waiting to take on an intellectual justification of their practice (which I discuss futher below) but some specific meeting and communciation points can be identified. In 1995 jodi (dirk and joan from the Netherlands) received a scholarship to study the emerging internet at the University of San Jose during the course of which they made important transition to being internet medium focused and certain discoveries in relation to error and programming important to their subsquent work.
In 1997 Natalie Bookchin lead a course that has become known as 'HOMEWORK' entitled "Introduction to computing in the Arts" at the University of California where the preparatory work, reading list, timetable and syllabus where put online for the use of the non-virtual students attending the course, the non-virtual students were then joined by a group of virtual students including Shulgin, Cosic, jodi. M@, Igor Stromajer and Heath Bunting.
& how to add value to net.art !?
why did this transfusion to the 'New World' of this theorisation of net.art plus the sanctification and mythologising of founding fathers and mothers of net.art happen. Why was it important? and where did it lead?
bread and butter
Really from this early point of the trans-atlantic hop of Homework, the driving force of the development of net.art has been the effort to find a way to make net.art pay, it has really conditined the practice of the leading exponents, what new projects they do, who they associate with, ideologies etc etc.
Various of the most recognized 'net.art' artists were coming form other media and
already professional artists, knowing the contemporary art
curatorial practice, having the contacts and thus fell naturally to
selling their new net.art along these lines in order to kepp body and soul together. Other new comers were equally keen to try and find a way
to pursue their creative work, to ditch their daytime commercial website construction careers but
not starve in the process. Increasingly in the last two years (writing in 2003) the established net-artists have reached breeding age and thus they require an increased and stable income to maintain them and their dependants. Rather unsurprisingly artistic adventures and the overall health and well-being of the net.art community take back seat for mums and dads compared to putting meals on the table for the progeny. The for long plays and gambles is over for many.
Refugees from video art and other artists who hadn't made the cut in other media were also well represented amongst the early net.art practioners, with a particular bent not to fail where they had failed before. The intital prognosis looked good, a new frontier gold rush both in the sense that the field seemed clear and virgin and that in more cash terms there appeared to be a lot of possible patrons in the medium/industry, the new millionaires of the dot.com era.
At this
point in its developement the profession of net.artists had several paths
to follow, the 'fine art' path, the 'mass media' path and what I can call
here the 'ornamental' path.
the 'fine art'
path
With the economic imperative to earn a crust, it was inevitable that most practioners choose the route they expected least surprises on, the route most similar to whatever path they had been previously following, the route they anticpated or found least resistance, most welcoming. The most obvious route to the majority of the heroes of the Heroic Age of net.art, the one they already knew something
about was to head for the hallowed halls, the modern art temples, the
string of 'MoMA's and other revered modern art instituitions, such as the
Whitney Museum of Modern Art, across the US.
So how did this
strategy fare?
The other side of the fence so to speak, whilst there was skant chance of any
of the venture capital, then pouring into dot.com start ups, coming directly
to 'net.art', with the dot.com boom/bubble rising to a climax and
every news media filled with dot.com hype, it was natural that enterprising
young curators (including trust and government award makers) should look
to 'net.art' as a new field to carve themselves careers and empires. Big US modern art institutions, such as the various US 'MoMA's, had been used to tapping industry for the majority of their funding for many years and the guys with the bags of money to dish out seemed in 1998-99 to be the heads of the new web industry, so these young curators such as Steve Dietz, Mark Tribe of Rhizome.org, Benjamin Weil did find the right doors opening for them, intitially at least.
... to the hallowed halls
This is a very rough chronology of the significant exhibitions that were the milestones on the admission of net.art to the aforementiond institutions
beyond
interface Walker Art January 1998
Whitney Biennale March 2000 fakeshop et al The Whitney Biennale is widely recognised as the weather vane of modern art curation in the US, thus the importance of this show.
- "For the first time since 1975, the Whitney Museum of American Art
is including a new art form --
the Internet -- in its prestigious Biennial exhibition.
It's been 25 years since another new media form -- video -- was curated into the show, which is
considered a barometer of what's currently hot in the art world......’Internet art has reached a critical stage where a significant number of artists are producing
works for this new medium," said Maxwell L. Anderson, director of the Whitney." An impressive
number of really exciting works have been made, and a substantial critical dialogue has
developed that is slowly but surely drawing in mainstream art historians and theorists. As of 2000,
Internet art can no longer be ignored as a legitimate art form."(Source: Wired News, Whitney
Speaks: It Is Art by Reena Jana).
SF MoMA 010101 show curated by Benjamin Weil, working for David Ross. The first major show of curated, commissioned net.art, actually mostly an exclusively online show. It was hamstrung by an excreable online interface to the commisioned pieces that is not only almost impossible to navigate but interposes a ridiclous layer of condescending explanations of the pieces between the user and the pieces.
'excellence
in online art' webby award for michael
and aurea ... quote. At the second year of the Oscar style 'Webby Awards' a new category of 'excellence in online art' was instituted by the organizers working with SF MoMA. Many people thought and hoped that this marked a transition where net.art was through the doors not only of the museums but also into Hollywoood, with its own first real 'stars', with fees to match. Must be one of the all-time top false dawns. The award had disappeared by the next Webby Awards.
a longer version is at this page of the Whitney site
The price
But its in the nature and heritage of the museum that, however much they protest or protested otherwise, their instituional life force was and is as locations for symbols and displays of power, wealth and dominance (consider the architecture and resulting experience of the Tate Modern, one of the most important new institutions in the field of modern art of the turn of the century). It is also still true that such institutions are defined by there being an 'outside' the museum, and an 'inside' the museum, and an implicit selection procedure, those objects that are deemed to be worthy (literlally worth enough $s) of being 'inside' and those that aren't high enough in value to enter in.
The nascent net.art to get into the hallowed halls had to reject its past as a libertarian free access medium, it had to subject itself to a process of grading. The 'abundance' in the medium that David Ross, Director of the SF MoMA had spoken about (already quoted) was not part of the implicit ethos of any museum (and this couldn't actually be changed however abundant the web industry sponsors).
Vital to the task of picking those net.art practicioners who would
make it into institutions was the process of establishing a mythology
or history of net.art that would pick from the herd those who could be safely booked
without questions by the curatorial community, establishing those who were
prepared to fit into the curatorial space and deliver product that would fit
into the carefully groomed lineage of art prescribed within the major western
contemporary art institutions. This in the end was and continues to be the role both of Vuk Cosic (now offically retired as a net-artist as such) and co and the rhizome.org organization in NYC i.e. as a
'clearing house' for net.art seeking entrance to the 'hallowed
halls'.
One ironic take on this process is the jodis map
http://map.jodi.org
they take out and add names to this pretty much at random and the connecting
relationships within the map are deliberately false. Of course their own
clear position as perhaps the single most revered net.artists of all,
I guess gives this map more poignancy. Very quickly the most important
and easiest way for curtators to choose work to show or comission became
looking at artists track record of previous shows and awards rather than
primarily the work of the artists themselves (work which in rather a lot
of cases it would be fair to say they might not understand or even more
likely not have access to the computer power or internet connection to
properly appreciate)
Besides this process that any new media would be subjected to before getting 'inside' there were certain obvious chareacteristics of the medium that made it not so suitable for admission.
Other forces were at work from the beginning of the genre. The underlying free access ethos of the web was understood to prevent charging for visiting sites much earlier than this truth struck at the e-commerce dot.coms.
the 'mass media'
path
This is the most difficult 'path' to discuss in some
ways. On the one hand clearly the internet is a mass media iin terms of
the number of those who use it, in another traditional sense it is not a
mass media because very few individual websites reach audiences that coudl
be termed 'mass' (to put it in television terms it is almost the
chanels/sites rather than the audience that is 'mass'). As a 'mass' art
form in a partcular media, in the sense of film or televesion, clearly it
is not established as yet, it is only a hypothetical 'path'.
And
yet it is not intrinsically obvious within the nature of the internet
medium that as an art medium it is in nature a 'fine art', in the sense of
being implicitly an art form that is only accessible intellectually or
fianancially (or both) to an elite minority. One incident and set of
groups and individuals within the 'net.art' story or
lexicon illustrates well the issues, that is the clash between the www.hell.com group and the italian
'anarchist' creators of www.0100101110101101.org
In 1995 Ken Aronson, an LA based performance and istallation artist acquired the domain www.hell.com (if you type merely 'hell' to your browser you will go to www.hell.com). It was clearly from the start quite a coup in internet real estate terms, it has always and continues to bring a high level of spontaneous traffic. It took Ken some time to formulate a plan for the use of his domain. what he eventually decided to do was to create an 'alternative reality' behind the domian name, as the site presently states
"HELL.COM is a private non commercial project devoted to establishing an alternative reality. it has absolutely nothing to do with theology, religion, cults, adult content, entertainment, or art."
And into this private alternative
reality Ken invited an exclsuive and eventually self chossing elite of the
new netartists. The strategy related to making a living for this band of
artists both in terms of reaching a mass audience and leveraging this
mass audience in relation to the 'fine art' institutions.
Externally www.hell.com
typically appeared as an opaque inpenetrable space on the web, which only
after persistance on the part of the visitor revealed the possibility of
getting one's email address put onto a guest list which would get one
entrance to the site occasionally. These occasions were to be selections
of views into an alternative realities created by the members of hell.com.
In other words the operation was one to bring a mass audience, en masse,
in a sheparded and controlled manner through a narrow gate, into contact
with quality creative work on the internet. In its early incarnation the
www.hell.com guest list stood around
200,000 and the active membership ('the residents') at around 25 (the
guest list now is around 750,000).
explanation
leverage
hell name
the 0100101110101101.org affair
with hell
the entrance to the real surface, the link to tha actual work is broken, it's at HERE (netscape 4 only)
the dupe surface
0100101110110101.org
opensources 0100101110101101.org... and pull the plug
ALTERNATIVES?
the unmentionable project
HL2, the one I found
the real one
the produce
CHAOS (down) and the guest book
yugo studies (down)
yugo chat (down)
where we are at the moment > 'net.art' in the museum case
and this years award 360
degress the digression > the designzine scene >
k10k > shift
> Joshua Davies
This process by which net.art has travelled is
a path akin to an initial mountain torrent rushing down through a narrow
gorge to arrive on the plain and spread and slow to become a diverse and
multi pathed delta riverway has led in some cases to clear cut-off between
todays net.artists and the original pioneers, the Heroes of the 'Heroic
Age' of net.art. Most notable in this respect is the case of
Vuk Cosic. Vuk features as one of the core heroes and in the 'net.art'
history as the legitmate claimant to originating the term 'net.art'
as well as a prominent propagandist and theoretician of early net.art
practice.
a sympotmatic quote from a professional curator early 2003
THE END
for the moment
Links
curating new media
a story of net art (open source) Bookchin
flash generation Lev Manovich
Whitney page of net.art showsatty's net.art spaces
net-art.ws (was net-art.org till russian e-mafia stole the domain and held it for ransom, which we couldn't and wouldn't pay)
98 results
99 results
00 results
01 results
www.hell.com back again
www.no-such.com (down)
FIB
rnd.net-art.ws
open_digi
the >wartime< project