Lista personaggi consigliata
- 1 UNA LISTA DI PERSONAGGI CONSIGLIATI
- 2 AVANGUARDIE E MOVIMENTI ARTISTICI
- 3 INTELLETTUALI, FILOSOFI, SOCIOLOGHI, ETC.
- 4 ARTE E TECNOLOGIA
- 5 ARTE E TELEMATICA
- 6 HACKER ART E NET.ART
- 7 UN'ALTRA LISTA DA INTEGRARE ALLA PRECEDENTE
- 8 ARTISTI E CRITICI ARTI DELLE RETI
- 9 ARTISTI ALTRE CORRENTI (avanguardie, …)
- 10 HACKTIVISM
- 11 INTELLETTUALI, FESTIVAL E ALTRE ISTITUZIONI
UNA LISTA DI PERSONAGGI CONSIGLIATI
a cura di Tommaso Tozzi
AVANGUARDIE E MOVIMENTI ARTISTICI
(XX secolo) (Fluxus, Situazionismo, Lettrismo, Mail art, etc.) [da completare]
Baroni Vittore (Mail Art)
Beuys Joseph (Arte sociale)
Cage John (Fluxus)
Chiari Giuseppe (Fluxus)
• Intermedia 1962 (?) (da The New Media Reader)
Isou Isidore (Lettrismo)
Jarry Alfred (Dada)
Maciunas George (Fluxus)
• “J. Cage o della liberazione‿, in “Incontri Musicali‿, n. 3, agosto
Paik Nam June
• SATELLITE ART: AN INTERVIEW WITH NAM JUNE PAIK (by Eduardo Kac) http://www.tribes.org/dystopia/satellite_art.html
• Cybernated Art 1966 (da The New Media Reader)
• Art and Satellite
• The Situationists and New Forms of Action Against Politics and Art Internationale Situationniste #11 (October 1967) http://www2.cddc.vt.edu/situationist/si/against.html
INTELLETTUALI, FILOSOFI, SOCIOLOGHI, ETC.
(XX secolo) [da completare]
• The Radio as an Apparatus of Communication http://telematic.walkerart.org/telereal/bit_brecht.html
ARTE E TECNOLOGIA
(dagli anni Sessanta agli anni Ottanta) [da completare]
E.A.T. (Experiments in Art and Technology)
• 9 Evenings 1966 (da The New Media Reader)
• (Press Release) 1967 (da The New Media Reader)
Jenny Holzer is a Neoconceptualist, world renowned for her signature texts called "Truisms." Displayed in public spaces such as electronic billboards, Holzer's art comments upon the ramifications of the commercial landscape in which we live. Her work has been displayed in many prestigious institutions such as the Guggenheim Museum (New York), The Institute of Contemporary Art (London), and the American Pavilion at the Venice Biennale (Venice).
o live chat transcript 5.23.95 http://aen.walkerart.org/mediatheque/media_read.cfm
• User Interface: A Personal View (da The New Media Reader)
• The Garden Party 1961 (da The New Media Reader)
• The Pavilion 1972 (da The New Media Reader)
• The Great Northeastern Power Failure (da The New Media Reader)
• Responsive Environments 1977 (da The New Media Reader)
Nelson Theodor H., Negroponte Nicholas and Levine Les
esposizione Software Information Technology: its New Meaning for Art che viene organizzata nel 1970 da Jack Burnham presso il Museum of Modern Art a New York. A fianco alle indagini concettuali di artisti come Les Levine, Hans Haacke, and Joseph Kosuth e alle tecnologie progettate da Ted Nelson e Nicholas Negroponte
• From Software—Information Technology: Its New Meaning for Art 1970 (da The New Media Reader)
• Modalities of Interactivity and Virtuality (da The New Media Reader)
• Will There be Condominiums in Data Space? 1982 (da The New Media Reader)
ARTE E TELEMATICA
(dagli anni Settanta agli anni Ottanta) [da completare]
Adrian X Robert
1935, Toronto. Lives since 1972 in Wien. Began working with telecommunication technology in 1979 and organised a number of projects involving fax, slow-scan tv, amateur radio, BBSs etc. during the 80s and 90s. In April, 1995 he initiated Kunstradio On Line , the web-site of the ORF radio art programme Kunstradio, and continued as webmaster of KR online untill April 2000. He has also continued to work with different media including installation, model-making, photography, painting, sculpture, radio and computer. His work has been included in many international exhibitions. He writes and publishes about the post-industrial revolution and its effects on art and culture.
Testi immagini ed altro su di lui all’indirizzo http://www.t0.or.at/~radrian/index.html
Uno tra i primi esperimenti che coinvolgono degli artisti nella sperimentazione dell’arte telematica è Interplay. Computer Communications Conference, organizzata a Toronto da Bill Bartlett con la partecipazione di artisti dal Canada, Australia, U.S.A., Giappone e Austria tra cui l’artista Robert Adrian. A febbraio del 1980 viene organizzata Artist’s use of telecommunications conference. Tra i partecipanti vi sono tra gli altri l’artista Robert Adrian, Bill Bartlett e Douglas Davis. Viene organizzata da La Mamelle Inc. e il Museum of Modern Art di San Franscisco. L’evento sarà un momento di importante promozione di questa nuova possibilità dell’arte. Nel 1983 un gruppo di artisti sotto la guida di Derrick de Kerckhove e Mario Costa formano il gruppo dell’ Estetica della Comunicazione. Tra questi vi sono Fred Forest, Christina Sevette, Stéphan Barron, Natan Karczmar e Robert Adrian. L’obiettivo dichiarato dal gruppo è di indagare intorno agli aspetti estetici e psico-sociologici delle nuove tecnologie della comunicazione.
Planetary Network, a cura di Roy Ascott, Tom Sherman, Don Foresta, Tommaso Trini e Maria Grazia Mattei, era una parte del Laboratorio Ubiqua alla Biennale di Venezia del 1986. Al suo interno veniva realizzato uno scambio di materiali in rete attraverso il network ARTEX di Robert Adrian oltre ad altre forme di scambio in tecnologia digitale.
o Art and Telecommunication, 1979-1986: The Pioneer Years http://telematic.walkerart.org/overview/overview_adrian.html
o net.art on nettime http://www.ljudmila.org/nettime/zkp4/37.htm
o ELECTRONIC SPACE http://www.t0.or.at/~radrian/TEXTS/ra-eraum-e.html
o 21st CENTURY BLUES http://www.t0.or.at/~radrian/TEXTS/21blues-e.html
Nel 1980 Roy Ascott, che già si occupa dagli anni Sessanta del rapporto tra arte e tecnologia, organizza in collaborazione con Infomedia di Jacques Valle un evento di tre settimane che prevede la sperimentazione da parte di artisti delle possibilità fornite dalla telematica, considerando <<le teleconferenze computerizzate come una forma di arte>>.
Roy Ascott, come affermerà in seguito, è contro l’idea di artista unico e lavora ad un’idea di networking in cui l’autore è chiunque sia connesso alla rete (Ascott, 1999). Planetary Network, a cura di Roy Ascott, Tom Sherman, Don Foresta, Tommaso Trini e Maria Grazia Mattei, era una parte del Laboratorio Ubiqua alla Biennale di Venezia del 1986. Al suo interno veniva realizzato uno scambio di materiali in rete attraverso il network ARTEX di Robert Adrian oltre ad altre forme di scambio in tecnologia digitale.
Roy Ascott is the Founder-Director of CAiiA-STAR http://www.caiia-star.net/ Recent projects include "Art-ID/Cyb-ID. Identities in Cyberspace" <http://www.mind-shift.net/> in the Biennal do Mercosul, Brazil, December 1999, and "The Moist Manifesto" Installation in gr2000az, Graz, Austria. MayOct. 2000.
• Is There Love in the Telematic Embrace? http://telematic.walkerart.org/overview/overview_ascott.html
• La Plissure du Texte • (Roy Ascott e altri) http://telematic.walkerart.org/timeline/timeline_ascott.html
• Art and Telematics: towards a network consciousness http://x.i-dat.org/~mp/DIGF/LM/PDF/Art&Telematics.pdf
• The Construction of Change (1964) ???
• Altri saggi di Roy Ascott: 1. The Construction of Change (1964) 2. Statement from Control (1966) 3. Behaviourist Art and the Cybernetic Vision (1966-67) 4. Behaviourables and Futuribles (1967) 5. The Psibernetic Arch (1970) 6. Table (1975) 7. Connective Criticism (1977) 8. Network as Artwork: The Future of Visual Arts Education (1978) 9. Towards a Field Theory for Postmodernist Art (1980) 10. Art and Telematics: Towards a Network Consciousness (1984) 11. Concerning Nets and Spurs: Meaning, Mind and Telematic Diffusion (1985) 12. Art and Education in the Telematic Culture (1988) 13. Gesamtdatenwerk: Connectivity, Transformation, and Transcendence (1989) 14. Beyond Time-Based Art: ESP, PDP, and PU (1990) 15. Is There Love in the Telematic Embrace? (1990) 16. Photography at Interface (1992) 17. Heavenly Bodies: Teleconstructing a Zodiac for the Twenty-First Century (1993) 18. Telenoia (1993) 19. From Appearance to Apparition: Communication and Culture in the Cybersphere (1993) 20. The Ars Electronica Center Datapool (1993) 21. The Planetary Collegium: Art and Education in the Post-Biological Era (1994) 22. The Architecture of Cyberception (1994) 23. Back to Nature II: Art and Technology in the Twenty-First Century (1995) 24. The Mind of the Museum (1996) 25. Weaving the Shamantic Web: Art and Techoetics in the Bio-Telematic Domain (1997) 26. Art @ the Edge of the Net (2000) 27. Technoetic Aesthetics: 100 Terms and Definitions for the Post-Biological Era (1996)
• Ascott Roy, 1999, “Il momento telematico‿, (tr. It. in Costa, 1999).
Uno tra i primi esperimenti che coinvolgono degli artisti nella sperimentazione dell’arte telematica è Interplay. Computer Communications Conference, organizzata a Toronto da Bill Bartlett con la partecipazione di artisti dal Canada, Australia, U.S.A., Giappone e Austria tra cui l’artista Robert Adrian. A febbraio del 1980 viene organizzata Artist’s use of telecommunications conference. Tra i partecipanti vi sono tra gli altri l’artista Robert Adrian, Bill Bartlett e Douglas Davis. Viene organizzata da La Mamelle Inc. e il Museum of Modern Art di San Franscisco. L’evento sarà un momento di importante promozione di questa nuova possibilità dell’arte.
VEDI MATERIALI DA DOCUMENTI ROBERT ADRIAN
A febbraio del 1980 viene organizzata Artist’s use of telecommunications conference. Tra i partecipanti vi sono tra gli altri l’artista Robert Adrian, Bill Bartlett e Douglas Davis. Viene organizzata da La Mamelle Inc. e il Museum of Modern Art di San Franscisco. L’evento sarà un momento di importante promozione di questa nuova possibilità dell’arte.
Douglas Davis is an artist who specializes in making new media turn inside out--that is, do what it's not supposed to do (he makes video touch you, prints speak, the InterNet lie down in your lap like a puppy). He is also known as a pioneer in "long-distance art," most of all live satellite video and now streaming video theater on the Web. He gorges on advanced and traditional technology, including interactive websites, intercontinental performances linking "real" and "virtual" sources, high-density volumetric imagery, video-casting/installations, printmaking, drawing, and photography, as well as post-minimal "objects" and installations.. He has also used ancient, peeling paper, film, radio, and vintage stereopticons. With Joseph Beuys and Nam June Paik he created the first live global satellite broadcast of video performance art in 1977, for Documenta 6. Critic Donald Kuspit calls Davis "one of the more magnificent minds engaging modern art and modern media." His early work is defined and analyzed on his still-active website, The World's First Collaborative Sentence (1994), where elements from his exhibition, InterActions 1967-1981 is presented as background. They include critical essays by Susan Hoeltzel, Michael Govan, David Ross, and Nam June Paik. Commisioned by the Lehman College Art Gallery, the Sentence was given by its collectors, Barbara and Eugene M. Schwartz, to the Whitney Museum of American Art. In 1997, P.S.1/The Institute of Contemporary Art joined with several other museums to host MetaBody (The World's First Collaborative Visions of the Beautiful), commissioned by George Waterman III. In 1997, Davis launched Terrible Beauty, an evolving global multi-media theater piece. Its "chapters" have been performed before audiences in New York, Dublin, San Francisco, and Berlin. He has taught advanced media at more than 25 universities and art colleges and served as consultant in this field for several corporations & foundations. Davis' book, Art and the Future, published in several countries in 1973, is considered a classic in the field of art and technology. ArtCulture: Essays on the Post-Modern (1977), is a widely-quoted book of theoretical essays. The Museum Transformed (1991) is what Arthur C. Danto calls "a truly pioneering work" in the burgeoning genre of museum studies and theory. The Five Myths of TV Power (or, Why the Medium is Not the Message), 1993, focuses on the crucial importance of the viewer, the "human" element in media theory. Davis has been awarded grants for his work by the Rockefeller Foundation, the National Endowment for the Arts & the Trust for Mutual Understanding, among other institutions. He has testified often before Congress in behalf of artist's rights. In 1996, he co-founded with a group of artists and organizations a new collaborative devoted to the digital arts,"ThunderGulch," based in Lower Manhattan.
Douglas Davis reflexiona sobre los cambios que esto comporta para el autor de una obra, en The World's First Collaborative Sentence, un documento multimedia, cuyo desarrollo y ampliación depende del público que, desde entonces, puede aportar (http://ca80.lehman.cuny.edu/davis/writesentence.html) textos, sonidos, imágenes y vídeos .
o THE WORK OF ART IN THE AGE OF DIGITAL REPRODUCTION An Evolving Thesis/1991-1995 http://cristine.org/borders/Davis_Essay.html
o The World's First Collaborative Sentence (1994) http://ca80.lehman.cuny.edu/davis/writesentence.html
o Art and the Future, A History/Prophecy of the Collaboration between Science, Technology and Art, Praeger, New York, 1973 ???
Nel 1983 un gruppo di artisti sotto la guida di Derrick de Kerckhove e Mario Costa formano il gruppo dell’ Estetica della Comunicazione. Tra questi vi sono Fred Forest, Christina Sevette, Stéphan Barron, Natan Karczmar e Robert Adrian. L’obiettivo dichiarato dal gruppo è di indagare intorno agli aspetti estetici e psico-sociologici delle nuove tecnologie della comunicazione. http://vv.arts.ucla.edu/publications/thesis/official/NET_thesisF.doc
Artiste et Professeur des universités, titulaire de la Chaire des Sciences de l'Information et la Communication de l'université de Nice Sophia-Antipolis.
o Manifeste pour une esthétique de la communication (1984) http://www.webnetmuseum.org/html/fr/expo_retr_fredforest/textes_divers/4manifeste_esth_com_fr.htm#text
o Manifeste pour une esthétique de la communication (1983) http://www.webnetmuseum.org/html/fr/expo_retr_fredforest/textes_divers/3manifeste_esth_com_fr.htm#text
o Manifestes de l'art sociologique et de l'Esthétique de la communication (Fred Forest e altri) http://www.webnetmuseum.org/html/fr/expo_retr_fredforest/textes_divers/2manifsts_art_socio_fr.htm#text
o Pour un art actuel, L'art à l'heure d'Internet, L'Harmattan, Ouverture philosophique, Paris, 1998 ???
Galloway Kit & Sherrie Rabinowitz
Un esempio, seppur limitato, di opera collettiva è l’installazione del 1980 Hole in space di Kit Galloway e Sherrie Rabinowitz attraverso cui le persone di Los Angeles e New York possono interagire liberamente attraverso due monitor e due telecamere collegate in diretta tra loro e posizionate in due spazi pubblici.
o ecafe manifesto (Kit Galloway & Sherrie Rabinowitz) http://telematic.walkerart.org/timeline/timeline_ecafe.html
o Art and telecommunications – 10 years on (“Leonardo‿, vol. 24, n. 2, 1991)
Eduardo Kac is an artist and writer who investigates the philosophical and political dimensions of communication processes. Equally concerned with the aesthetic and the social aspects of verbal and nonverbal interaction, in his work Kac examines linguistic systems, dialogic exchanges, and interspecies communication. Kac's pieces, which often link virtual and physical spaces, propose alternative ways of understanding the role of communication phenomena in shaping consensual realities. Internationally known in the '80s as a pioneer of Holopoetry and Telepresence Art, in the '90s Kac created the new categories of Biotelematics (art in which a biological process is intrinsically connected to digital networks) and Transgenic Art (new art form based on the use of genetic engineering techniques to create unique living beings). Kac merges multiple media and biological processes to create hybrids from the conventional operations of existing communications systems. Kac first employed telerobotics motivated by a desire to convert electronic space from a medium of representation to a medium for remote agency. He creates pieces in which actions carried out by Internet participants have direct physical manifestation in a remote gallery space. Often relying on the indefinite suspension of closure and the intervention of the participant, his work encourages dialogical interaction and confronts complex issues concerning identity, agency, responsibility, and the very possibility of communication. In his work Kac deals with issues that range from the mythopoetics of online experience "Uirapuru" to the cultural impact of biotechnology "Genesis"; from the changing condition of memory in the digital age "Time Capsule" to distributed collective agency "Teleporting an Unknown State"; from the problematic notion of the "exotic" "Rara Avis" to the creation of life and evolution "GFP Bunny." His work has been exhibited widely in the United States, Europe, and South America, in venues such as Exit Art, New York; Ars Electronica, Linz, Austria; InterCommunication Center (ICC), Tokyo; Saint Petersburg Biennial, Russia; Huntington Art Gallery, Austin; and Nexus Contemporary Art Center, Atlanta. Kac's works belong to the permanent collections of the Museum of Modern Art, New York; Joan Flasch Artists' Book Collection, Chicago; and the Museum of Modern Art, Rio de Janeiro, among others. Kac has received numerous grants and awards for his work. In 1995 he received the prestigious Shearwater Foundation Holography Award for his body of work in the medium. In 1998 he received the Leonardo Award for Excellence, in recognition of his body of work in electronic art as well as his editorial work with the journal. In 1999, in the context of the InterCommunication Center Biennale, Tokyo, an international jury gave Kac an award for his telepresence work "Uirapuru," considered one of the best works in the show. In 2000 he received grants and awards from Langlois Foundation, Montreal; Institute for Studies in the Arts, Arizona; and Illinois Arts Council, Chicago. Kac is a member of the editorial board of the journal Leonardo, published by MIT Press. His anthology New Media Poetry: Poetic Innovation and New Technologies was published in 1996 as a special issue of the journal Visible Language, of which he was a guest editor. The anthology will be published as a book in 2000 by the British publisher Intellect. Writings by Kac on electronic art as well as articles about his work have appeared in several books and periodicals in many countries, including Argentina, Australia, Austria, Belgium, Bolivia, Brazil, Canada, Estonia, Finland, France, Germany, Holland, Hungary, Israel, Japan, Mexico, Portugal, Spain, Russia, Singapore, Slovenia, United Kingdom, and United States. Kac's collected writings on art will be published in 2001 by the University of Michigan Press. Two books document Kac's work with critical texts by North American, European, South American, and Japanese scholars: Teleporting An Unknown State (1998) and Eduardo Kac: Telepresence, Biotelematics, Transgenic Art (2000). Eduardo Kac is a Ph.D. research fellow at the Centre for Advanced Inquiry in Interactive Arts (CAiiA) at the University of Wales, Newport, United Kingdom. He is an Assistant Professor of Art and Technology at the School of the Art Institute of Chicago.
Eduardo Kac can be contacted at: email@example.com. His work can be seen at: http://www.ekac.org. Eduardo Kac is represented by Julia Friedman & Associates, Chicago.
• ASPECTS OF THE AESTHETICS OF TELECOMMUNICATIONS http://telematic.walkerart.org/telereal/kac_kac.html
• TELEPRESENCE ART http://telematic.walkerart.org/telereal/kac_telepresence.html
HACKER ART E NET.ART
(dagli anni Ottanta agli anni Novanta) [da completare]
®™ARK (www.rtmark.com , USA)
RTMark is an anonymous group of artists whose activities have led to the popularization of economic ideas. These activities have been as far reaching as "Barbie Liberation" to more serious issues as the Zapatista movement. RTMark's principal aim is to publicize corporate abuse of democratic processes.
RTMark employs clever and funny tactics to call the attention of a broad audience to a grave concern regarding abusive corporate subversion of the democratic process. Gatt.org is one of many of RTMark's documented pranks designed to sabotage and uncover shady connections between the government and corporate establishment, as well as raising public social awareness of these connections. Similar to RTMark's etoy.com battle (you can learn more about this in Creative Mindshare) with Gatt.org, the participating audience/protesting public becomes the creative artist. Gatt.org draws an unflattering portrait of WTO by counterfeiting WTO's official website and carefully selected press releases.
o Etoys Finally Drops Lawsuit (2000) http://www.rtmark.com/etoyprtriumph.html
o interview with RTMark (J. Bosma) http://laudanum.net/cgi-bin/media.cgi?action=display&id=991903493
o Art and the Corporate World - A Mixed Double Timothy Druckrey and Benjamin Weil 01.04.1998 A conversation about ädaweb´s end and the functionality of art hosting servers
o UNTITLED (ÄDA'WEB) Benjamin Weil
o A Brief History of äda'web
Perhaps the first online essay to address net art and the exhibition context. IN 1997, Alt-X, which had already acheived an international reputation as one of the most prolific and iconoclastic web sites focusing on hypertext, avant-pop fiction, and critical theory, launched what many believe to be the first large-scale net art exhibition with keynote essays by Roy Ascott, Rhizome's Alex Galloway and this essay from Alt-X Director Mark Amerika.
o Network Installations, Creative Exhibitionism and Virtual Republishing http://rhizome.org/ds/pages/amerika.html
o Surf-Sample-Manipulate: Playgiarism On The Net http://www.heise.de/tp/english/inhalt/kolu/3098/1.html
o An email interview with Mark Amerika http://aen.walkerart.org/mediatheque/media_read.cfm
o Notes on the Aesthetics of Dysfunctionality, or: Why Some of Us Don’t Want to Become ‘Masters’ http://www.v2.nl/~arns/Texts/Media/dysfunct.html
o Interaction, Participation, Networking Art and telecommunication
The Ascii Art Ensemble
The Ascii Art Ensemble consists of Walter van der Cruijsen (founder of Desk.nl), Luka Frelih and Vuk Cosic (both Ljudmila Media Lab, Slovenia).
o The Ascii Art Ensemble www.heise.de/tp/english/inhalt/sa/2458/1.html
Baumgärtel tilman Tilman Baumgaertel is a freelance journalist living in Berlin. o Online Art (2001) http://www.eyestorm.com/feature/ED2n_article.asp?article_id=234&caller=1#top
o Interview Tilman Baumgaertel (by Heck Petra) http://amsterdam.nettime.org/Lists-Archives/nettime-l-0002/msg00103.html
o Hackers are Artists - and Some Artists are Hackers Tilman Baumgärtel speaks with Cornelia Sollfrank http://www.artwarez.org/aw/content/rot_tilman.html
o Prize of form art competition awarded at ars electronica http://www.nettime.org/nettime.w3archive/199709/msg00020.html
o The Materiality Test http://www.dvara.net/HK/tilman.asp
o Tilman-RFC #1: net art history 1993 - 1996 http://www.nettime.org/Lists-Archives/nettime-l-9912/msg00082.html
o Tactical Art in Virtual Space 1 http://amsterdam.nettime.org/Lists-Archives/nettime-l-0009/msg00112.html
o Tactical Art in Virtual Space 2 http://amsterdam.nettime.org/Lists-Archives/nettime-l-0009/msg00113.html
o What is netart ;-) ? http://www1.hgb-leipzig.de/theorie/netlag.htm
Blume Harvey Harvey Blume, a writer living in Cambridge, Massachusetts, is a frequent contributor to Atlantic Unbound.
o exquisite source http://www.theatlantic.com/unbound/digicult/dc990812.htm (due pagine web)
Natalie Bookchin is an artist working in new and old media. She is is a member of the faculty at the California Institute of the Arts in Los Angeles. She does not have her own domain, but can often be found squatting on others. She exhibits her work and lectures widely in the States, in Europe and on line. Her work has been written about in such places as ArtForum and The New York Times. Her most recent projects include is a computer game based on a short story by Jorge Luis Borges entitled The Intruder http://calarts.edu/~bookchin/intruder an collective/art class called power of the line http://calarts.edu/~line and a series of lectures and workshops in los angeles at http://calarts.edu/~ntntnt
o Introduction to net.art (1994-1999) http://easylife.org/netart/catalogue.html
• email interview between Alexei Shulgin and Natalie Bookchin http://aen.walkerart.org/mediatheque/media_read.cfm
Roberta Bosco e Caldana Stefano
o Arte.Red Breve historia http://www.elpais.es/especiales/2001/arte/histo.htm (varie pagine web)
o Arco 2001 http://www.elpais.es/especiales/2001/arte/buzon.htm (varie pagine web)
o gli artisti http://www.elpais.es/especiales/2001/arte/artis.htm (varie pagine web)
o 'Beyond the white walls of the white cube' net art: exhibiting/collecting/conserving? http://www.nettime.org/Lists-Archives/nettime-l-9912/msg00042.html
o net.artists and net.art http://www.nettime.org/nettime.w3archive/199807/msg00084.html
o Is it a commercial? Is it spam? It is net.art! http://laudanum.net/cgi-bin/media.cgi?action=display&id=953720713
o The Interior of Net Art http://laudanum.net/cgi-bin/media.cgi?action=display&id=993983463
o The space of net art http://laudanum.net/cgi-bin/media.cgi?action=display&id=1005559821
o beyond net.art - escaping network nihilism in media art criticism http://laudanum.net/cgi-bin/media.cgi?action=display&id=1039511208
Broeckmann Andreas (Transmediale, Berlin)
o Net. Art, Macchine e Parassiti http://amsterdam.nettime.org/Lists-Archives/nettime-l-9703/msg00038.html
o Techno-Parasites: Bringing the Machinic Unconscious to Life http://www.v2.nl/FreeZone/users/PARASITES/text.html
o Remove the Controls http://www.ljudmila.org/~vuk/nettime/zkp4/45.htm
o Towards an Aesthetics of Heterogenesis http://www.v2.nl/~andreas/texts/1996/aestheticsofheterogenesis.html
o Art in the electronic networks http://www.medialounge.net/lounge/workspace/nettime/DOCS/zkp321/DOCS/1/25(1).htm
o Are you Online? Presence and Partecipation in Network Art giugno 1998. In T. Druckrey with Ars Electronica, Ars Electronica. Facing the Future: a Survey of Two Decades, The Mit Press, Cambridge, Massachussetts, 1999. Reperibile anche online nell’archivio di “Nettime‿ (30 giugno 1998).
o Networks and Artworks the Failure of the User Friendly Interface http://www.paul-brown.com/WORDS/NETART.HTM
• Pour une typologie de la création sur Internet Janvier 1998. http://www.olats.org/livresetudes/etudes/typInternet.shtml
o Dissimulations: Illusions of Interactivity http://www.daimi.au.dk/%7Esbrand/mmp2/Dissimulations.html
o THE SEMIOTICS OF THE WEB http://pauillac.inria.fr/~codognet/web.html
Cohen J. , Frank K. , Ippolito J.
• Interview: Janet Cohen, Keith Frank, Jon Ippolito http://www.walkerart.org/gallery9/three/g9_ua_interview.html
• E.A.T. and EAT some more http://aen.walkerart.org/mediatheque/media_read.cfm
Cosic Vuk (www.ljudmila.org/~vuk/)
o Intervista a Vuk Cosic di Josephine Bosma http://amsterdam.nettime.org/Lists-Archives/nettime-l-9709/msg00053.html
o Tilman Baumgärtel intervista Vuk Cosic http://amsterdam.nettime.org/Lists-Archives/nettime-l-9706/msg00211.html
o Cyber Art: The Art of Communication Systems http://www.eserver.org/art/art-of-comm-systems.txt
o Interactive Art Conference http://www.well.com/~couey/interactive/
o Art Works as Organic Communication Systems http://www.well.com/~couey/artcom/leonardo91.html
o Free software as collaborative text www.nettime.org, F. Cramer, Free Software as Collaborative Text, saggio inviato a “Nettime‿ in data 19 settembre 2000. http://amsterdam.nettime.org/Lists-Archives/nettime-l-0009/msg00163.html
o Re: Tilman-RFC #1: net art history 1993 – 1996 http://amsterdam.nettime.org/Lists-Archives/nettime-l-9912/msg00098.html
o Software Art (Florian Cramer and Ulrike Gabriel) http://userpage.fu-berlin.de/%7Ecantsin/homepage/writings/software_art/transmediale//software_art_-_transmediale.txt
o Concepts, Notations, Software, Art http://userpage.fu-berlin.de/%7Ecantsin/homepage/writings/software_art/concept_notations//concepts_notations_software_art.txt
Critical Art Ensemble (http://www.critical-art.net/)
Critical Art Ensemble (CAE) is a collective of five tactical media practitioners of various specializations including computer graphics, film/video, photography, text art, book art, and performance. Formed in 1987, CAE's focus has been on the exploration of the intersections between art, critical theory, technology, and political activism. The collective has performed and produced projects for an international audience, and has written three books: _The Electronic Disturbance_, and its companion text, _Electronic Civil Disobedience and Other Unpopular Ideas_, and _Flesh Machine: Cyborgs, Designer Babies, and New Eugenic Consciousness_.
o Electronic Civil Disobedience, Simulation, and the Public Sphere http://amsterdam.nettime.org/Lists-Archives/nettime-l-9901/msg00033.html
o Utopian Plagiarism, Hypertextuality, and Electronic Cultural Production http://college.hmco.com/english/amore/demo/ch5_r4.html
o interview with critical art ensemble (by J. Bosma) http://laudanum.net/cgi-bin/media.cgi?action=display&id=949047391
(Kathy Acker, Mark Amerika, Jean Baudrillard, Marilouise Kroker, Paul Virilio) CTHEORY is an international journal of theory, technology, and culture edited by noted hypercritics Arthur and Marilouise Kroker (aka The Krokers). The site contains many links to published articles, event-scenes, and reviews of key books and features writers as diverse as Jean Baudrillard, Paul Virilio, Kathy Acker, Mark Amerika, and Critical Arts Ensemble.
Deck Andy C.
Andy C. Deck (born 1968, USA) is an artist working with the development of collaborative process in the context of art and connectivity. Through short films, calendars, games, interactive installations, and multi-user drawing spaces, he has sought consistently to involve art in daily life and to challenge orthodoxies of art distribution and reception. Currently his work can be found at http://artcontext.net. Among his best known works are Graffic Jam, Space Invaders Act 1732, and Commission Control. Artworks by Mr. Deck have been reviewed in Sweden's Dagens Nyheter, Spiegel online, and Telepolis; and have been featured in THING.NET, New York (1999), Turbulence.org (1999), Millennium Film Journal (1999), Bostoncyberarts.org (1999), Machida City Graphics Arts Museum, Tokyo (1999), Prix Ars Electronica (1998), Kentler International Drawing Space (1998), Art By Numbers (1998), Mac Classics (1997), and the New York Short Film and Video Festival (1996). Since 1996, Mr. Deck has acted as a technical consultant for the non-profit organization, Ocean of Know; he has taught classes in new media design and theory at New York University, School of Visual Arts, Sarah Lawrence College, City College of New York, Bowling Green State University, Bloomfield College, and the Universidad Internacional Menéndez Pelayo. Developmental work for ongoing projects was made possible in part by the Ocean of Know and the Ecole Nationale Supériere des Arts Décoratifs, Paris.
o In Search of Meaningful Events: Curatorial Algorithms and Malleable Aesthetics http://www.archimuse.com/mw99/papers/deck/deck.html
o Art-Free Portals or Free Art Portals? http://www.andyland.net/ (cerca in categoria “essays‿)
Decoder (Ermanno Guarneri “Gomma‿, Raffaele Scelsi “Raf‿, Gianni Mezza “Uvlsi‿, e altri)
Van der Cruijsen Walter (Desk.nl – Desk.org, The Flying Desk, Salon Digital – Zkm)
Walter van der Cruijsen has a background as painter and collaborated for years in alternative art spaces throughout Holland. Since his move to Amsterdam, his work is directed more on electronic environments as working ground and as a communicative platform for artists collabs and shared virtual involvements. After creating room and outdoor installations as temporary mental settlements ('think-rooms'), the computer, datacommunication and electronic networking open new features that are still much unknown in contemporary art. He takes his works as 'situations' or 'adaptive components', art cannot be seen without an idea about art and the environment. Slowly the idea itselves makes the final piece and the artwork is a generic element in an instable artistic environment. The artistic environment is the monitor screen and computer peripherals, but most of all the user (the former viewer) by his/her participation and interaction. Consequently the actual art work becomes more difficult to define, since it is part of larger entity and does not exist as a stable object of fine art exposed in cultural temples or decorating private homes. This reflects actual developments in the world at all levels and concentrates on a lively interaction between technology and arts. It enables direct communication between art, artist and audience, which has always been a priority of artists initiatives. But with the use of cyberspace, internet and interactive hypermedia its orientation shifts from local to global. The artist is a nomadic digital figure that can reveal at any moment, but that, like a last romantic being can hide and loose himself in there, deep down in public space. current projects: The Thing Amsterdam Next 5 Minutes online magazine consultant of several new media programs programming and management of Desk.nl (68 projects) with Reinout Heeck development of websites and consults for Akris, Veenman, Stedelijk Museum, KLM, Toneelgroep Amsterdam, Portable Gallery development of 'Hybrid Media' installation, with the Flying Desk Organisation development and design of CAPE toolbox for internet software, with Reinout Heeck development of Wired Café, with Brigitte Salezius, Michael van de Berg and Wired design of Tijd.Schrift, many media network magazin, with ACSi and XS4ALL and Antenna
o ON NET.ART http://www.desk.org:8080/Desk/on+net.art
o Artists Networks http://www.desk.org:8080/Desk/Artists+Networks
o The Temporary Museum concept http://www.desk.org:8080/Desk/The+Temporary+Museum+concept
DeMocker Judy (Wired ???)
o It's Digital, but Is It Art? http://www.wired.com/news/culture/0,1284,14877,00.html
o Digital Preservation: Recording the Recoding. The Documentary Strategy www.aec.at/festival2001/texte/depocas_e.html
o Strategies of Interactivity http://www.mediaartnet.org/Starte.html (cerca in categoria “texts‿)
o The Art of Communication: From Mail Art to the e-mail http://www.mediaartnet.org/source-text/73/ (cerca in categoria “texts‿)
Steve Dietz was one of the first institutionally-affiliated voices to give net art its due course. In this landmark essay which accompanied the historic "beyond interface" exhibition at the Museums and the Web conference in the early part of 1998, Dietz outlines the differences between the various forms of net art that were the first to emerge in the mid to late Nineties. Focusing his lens on digital narrative, Euro-influenced net.art, performance, and the meta-mediumistic implications of a network art scene taking cultural production and distribution into its own hands and putting the work on their own servers, Dietz asks us to rethink the visual in digital culture.
Steve Dietz is Director of New Media Initiatives at the Walker Art Center in Minneapolis and curator of Telematic Connections, Lawrence Rinder is the Whitney's Anne & Joel Ehrenkranz Curator of Contemporary Art and co-curator of BitStreams, and Benjamin Weil, SFMOMA's Curator of Media Arts, is one of the six interdisciplinary curators of 010101. The conversation was lead by Bay Area writer Glen Helfand. (For exhibition dates and URLs, please see the end of the document.)
o Interview with Steve Dietz (by J. Bosma) http://laudanum.net/cgi-bin/media.cgi?action=display&id=953755089
o Beyond interface (oltre l'interfaccia) - net art e arte nella rete I e II http://www.archimuse.com/mw98/beyondinterface/dietz_bi.html
o Signal or Noise?The Network Museum http://www.walkerart.org/gallery9/webwalker/ww_032300.html
o Archiving whit Attitude, The Unreliable Archivist and ada web http://www.walkerart.org/gallery9/three/
o Curating (on) the Web http://www.archimuse.com/mw98/papers/dietz/dietz_curatingtheweb.html
o The Art of High Technology: A conversation with the curators of three exhibitions that explore art and technology http://telematic.walkerart.org/overview/overview_conversation.html
o Telematic Connections: The Virtual Embrace http://telematic.walkerart.org/overview/index.html
Dillon divides Internet sensibilities into four categories: Researcher, explorer, browser, and connector. He goes on to discuss their differences and significance as related to the net surfing experience. He also relates sitemapping and hypertext to previous art movements and so offers a way to contextualize what is seen on the Internet from a historical perspective
o Dada Photomontage and net.art Sitemaps http://faculty.washington.edu/dillon/rhethtml/dadamaps/dadamaps2b.html
o Electronic Culture, Technology and Visual Representation, Aperture, Denville, NJ, USA, 1996 ???
o Art and the Corporate World - A Mixed Double (Timothy Druckrey and Benjamin Weil 01.04.1998) http://www.heise.de/tp/english/inhalt/sa/3220/1.html
o Cheap, Fast and Out of Control http://adaweb.walkerart.org/context/reflex/
Electronic Disturbance Theatre (www.thing.net/~rdom/ecd/ecd.html)
(Ricardo Dominguez, Karasic Carmin, Brett)
o On Electronic Civil Disobedience (di Wray Stefan) http://www.thing.net/%7Erdom/ecd/oecd.html
o The Electronic Disturbance Theater and Electronic Civil Disobedience (di Wray Stefan) http://www.thing.net/%7Erdom/ecd/EDTECD.html
o Digital Zapatismo (di Dominguez Ricardo) http://www.thing.net/%7Erdom/ecd/DigZap.html
(Grether Rheinold) In late 1999, the largest online toy retailer, eToys, attempted to buy off the domain name, etoy.com, from the European arts collective etoy, for $500.000. etoy turned down the offer. In response, eToys obtained a court order to shut down etoy.com, which had been registered to etoy before eToys even existed. To fight this circumspect corporate behavior, RTMark, unrelated to etoy in any way before this incident, launched the etoy fund: a Toywar project geared towards reprimanding eToys by lowering their market share as much as possible. RTMark's Etoy fund offers a number of different possible actions one can take on behalf of this missive, in order to teach eToys and the dot-com industry as a whole, a lesson they will never forget." The separate projects can be supported anonymously and simply require the support of investors anywhere.
o THE DIGITAL HIJACK (di Etoy ?) http://www.fiftyfifty.org/hack_tech/txt_hijack.html
Galloway Alex (RSG)
Alex Galloway is the Technical Director at Rhizome Artbase. He has done graduate work at Duke University in Literature, and is actively involved in critical discussions of Internet art. He has curated a number of Internet- based shows, including "Some of My Favorite Websites are Art," and "Digital Studies," with Mark Amerika.
o How we Made our own ‘Carnivore’ (2002) http://amsterdam.nettime.org/Lists-Archives/nettime-l-0206/msg00088.html
o A dream come true intervista di A. Galloway con Michael Samyn http://www.rhizome.org/thread.rhiz?thread=643&text=1660#1660
o The avant-garde never gives up www.n5m.org/n5m3/pages/programme/articles/galloway.html
o Interview with Alex Galloway by Peter Schauer http://rhizome.org/thread.rhiz?thread=1732&text=2353#2353
o 2 keywords for the digital text: object and protocol http://www.ljudmila.org/~vuk/nettime/zkp4/67.htm
o Utopia, the Avant-Garde, and the Telegraph. A paper for the Art and Technology Conference - Liverpool, July 1998 http://www.bbk.ac.uk/hafvm/staff_research/charlie/UtoTel.htm
o Art and telecommunications – 10 years on (“Leonardo‿, vol. 24, n. 2, 1991, Pergamon Press, Berkeley, USA)
Glen Helfand is a freelance writer, critic, and curator. His writing on art, culture and technology has appeared in The Bay Guardian, Wired, Limn, Salon, Travel and Leisure and nest.
• "Telematic Connections: The Virtual Embrace" Technology Wraps Its Conceptual Arms Around You http://www.sfgate.com/cgi-bin/article.cgi?file=/technology/archive/2001/03/01/telematic.dtl&type=printable
• Vade-mecum of Digital Art http://waste.informatik.hu-berlin.de/mtg/dinkla_e.htm
• Web Work: A HISTORY OF INTERNET ART http://www.findarticles.com/cf_0/m0268/9_38/65649375/print.jhtml
Heidi Grundmann is an art journalist and curator in the field of radio-art. For over a decade she was the producer of KUNSTRADIO, a 55 minute program broadcast weekly on 01, the cultural channel of the Austrian National Radio, ORF. Since the beginning of 1995 KUNSTRADIO has its own artist-run homepage, which is the site of many art projects and live webcasts.
o Interview with Heidi Grundmann (di Josephine Bosma) http://telematic.walkerart.org/overview/overview_bosma.html
o ed. Art + Telecommunication. Vancouver: The Western Front/ Vienna: BLIX, 1984 http://kunstradio.at/HISTORY/TCOM/ (ancora da copiare anche i link interni)
Since the 1980's, Heath Bunting has committed himself to building "open/democratic communication systems and social contexts." Throughout his years as an artist, he has worked with performance art, stained glass, pirate radio, fax and mail art, in addition to Internet art. Recently, he retired from Net.Art to work in the field of genetics proclaiming it to be the next "new media". He is also making steps towards producing work within financial networks, believing money to be the ultimate media for artistic practice. Josephine Bosma is a freelance journalist and works for the pirate station Radio Patapoe in Amsterdam.
o INTERVIEW OF HEATH BUNTING BY KRISTINE FEEKS Spring, 2001. http://art.colorado.edu/hiaff/interview.php?id=48&cid=7
o Interview with Heath Bunting (di Josephine Bosma 17.08.1997) Street Artist, Political Net Artist or Playful Trickster? http://www.heise.de/tp/english/special/ku/6176/1.html
Hudson David (Wired ?)
o The Trouble with Net Art http://www.wired.com/news/culture/0,1284,16023,00.html
(Harwood Graham, Fuller Matthew, Pope Simone, Green Colin) Born in 1960, Graham Harwood has been creating digital art and educational tools since the 1980's. He has been added to the Net Condition exhibition at ZKM and has won the Clarks Digital Bursary and Imagaria Awards.
o Geert Lovink E-Interview with the makers of the Web Stalker browser Simon Pope, Colin Green and Matthew Fuller http://www.nettime.org/nettime.w3archive/199804/msg00072.html
o interview with Graham Harwood (by Josephine Bosma) http://laudanum.net/cgi-bin/media.cgi?action=display&id=1035190701
• WARNING! This Computer Has Multiple Personality Disorder (by Simon Pope and Matthew Fuller) http://www.backspace.org/iod/WARNING%21.html
o A means of Mutation http://bak.spc.org/iod/mutation.html
Critic and curator Jon Ippolito has been focusing his attention on the preservation and archiving of media art. His variable media program applies to many forms of art and is of particular significance to the net art community who are just now coming to grips with the fact that this kind of software-dependent work may not work on the browsers of the future. What to do? Archive old versions of Netscape? Old Mac classics?
Jon Ippolito is an artist and Assistant Curator of Media Arts at the Guggenheim, where he recently co-curated The Worlds of Nam June Paik with John G. Hanhardt. http://www.three.org/
• Variable Media Initiative http://www.guggenheim.org/variablemedia/variable_media_initiative.html
• The Art of Misuse http://telematic.walkerart.org/overview/overview_ippolito.html
Irational.org (baker rachel?)
Jana Reena (Wired?)
• Is New Media Art Collectible? http://www.wired.com/news/culture/0,1284,11161,00.html
• Database politics and social simulations http://tech90s.walkerart.org/nj/
Jodi (aka Heemskerk Joan e Paesmans Dirk) Tilman Baumgaertel is a freelance journalist living in Berlin. • Interview with Jodi (by Tilman Baumgärtel 06.10.1997) "We love your computer" The Aesthetics of Crashing Browsers http://www.heise.de/tp/english/special/ku/6187/1.html
• Transfiguration of the Avant-Garde / The Negative Dialectics of the Net http://amsterdam.nettime.org/Lists-Archives/nettime-l-0201/msg00104.html
• history and futurism of the net.art story http://www.t0.or.at/~eyescratch/dunja/
• The Art and Architecture of Cyberspace (da The New Media Reader)
Lovink Geert, (Olanda)
Geert Lovink (1959, Amsterdam), media theorist, net critic and activist, studied political science on the University of Amsterdam (MA) and holds a PhD at University of Melbourne. Since January 2003 he is a postdoc fellow at University of Queensland (Brisbane).
He is a member of Adilkno, the Foundation for the Advancement of Illegal Knowledge, a free association of media-related intellectuals established in 1983 (Agentur Bilwet auf Deutsch). From Adilkno the following books appeared: Empire of Images (1985), Cracking the Movement (1990) on the squatter movement and the media, Listen or Die (1992) on free radio, the collected theoretical work The Media Archive (1992 - translated into German, English, Croatian and Slovenian), the collection of essays The Datadandy (1994 - in German) and the book/CD Electronic Solitude (1997). Most of the early texts of Lovink and Adilkno in Dutch, German and English can be found at http://thing.desk.nl/bilwet. Geert Lovink’s recent online text archive is: www.laudanum.net/geert.
He is a former editor of the media art magazine Mediamatic (1989-94) and has been teaching and lecturing media theory throughout Central and Eastern Europe. He is a co-founder of the Amsterdam-based free community network 'Digital City' (http://www.dds.nl) and the support campaign for independent media in South-East Europe Press Now http://www.dds.nl/pressnow. He was the co-organizer of conferences such as Wetware (1991), Next Five Minutes 1-3 (93-96-99) http://www.n5m.org, Metaforum 1-3 (Budapest 94-96) http://www.mrf.hu, Ars Electronica (Linz, 1996/98) http://www.aec.at and Interface 3 (Hamburg 95). In 1995, together with Pit Schultz, he founded the international 'nettime' circle http://www.nettime.org which is both a mailinglist (in English, Dutch, French, Spanish/Portuguese, Romanian and Chinese), a series of meetings and publications such as zkp 1-4, ‘Netzkritik’ (ID-Archiv, 1997, in German) and ‘Readme!’ (Autonomedia, 1998). From 1996-1999 he was based at De Waag, the Society for Old and New Media (http://www.waag.org) where he was responsible for public research. Since 1996, once a year he has been coordinating a project and teaching at the IMI mediaschool in Osaka/Japan http://www.iminet.ac.jp. A series of temporary media labs was started in 1997 at the arts exhibition Documenta X in Kassel/Germany called Hybrid Workspace (for archive see http://www.medialounge.net which continued in Manchester (1998) and Helsinki, in the contemporary arts museum Kiasma (http://temp.kiasma.fi).
A recent conference he organized was Tulipomania Dotcom conference, which took place in Amsterdam, June 2000, focussing on a critique of the New Economy www.balie.nl/tulipomania. In early 2001 he co-founded www.fibreculture.org, a forum for Australian Internet research and culture which has its first publication out, launched at the first fibreculture meeting in Melbourne (December 2001). Other meetings took place in the MCA, Sydney (November 2002) and Powerhouse, Brisbane (July 2003). Since 2000 he is a consultant/editor to the exchange program of Waag Society (Amsterdam) and Sarai New Media Centre (Delhi). He co-organized were Dark Markets on new media and democracy in times of crisis (Vienna, October 2002, http://darkmarkets.t0.or.at/) and Crisis Media, Uncertain States of Reportage (Delhi, March 2003, http://www.sarai.net/events/crisis_media/crisis_media.htm.).
Three books document his collaboration with the Dutch designer Mieke Gerritzen which he co-edited: Everyone is a Designer (BIS, 2000), Catalogue of Strategies (Gingko Press, 2001) and Mobile Minded (BIS, 2002) Together with Mieke Gerritzen in 1998 he co-founded the Browserday events (www.browserday.com), a competition for new media design students. In 2002 The MIT Press published two of his titles: Dark Fiber, a collection of esssays on Internet culture (translated into Italian, Spanish, Romanian, German and Japanese) and Uncanny Networks, collected interviews with media theorists and artists. The Rotterdam-based V2-Publishers will put out his next study on Internet culture, My First Recession, in September 2003.
• The ABC of Tactical Media (by David Garcia and Geert Lovink) http://www.ljudmila.org/~vuk/nettime/zkp4/74.htm
• DEF of Tactical Media (by David Garcia and Geert Lovink) Written for the Next Five Minutes 3 Catalogue http://laudanum.net/geert/files/1021/index.shtml?1072972564
• A Virtual World is Possible From Tactical Media to Digital Multitudes (by Geert Lovink & Florian Schneider) http://laudanum.net/geert/files/1037066642/
• On Infowar, Hacktivism and Other Strategies Radical Media Pragmatism Strategies for Techno-social Movements http://laudanum.net/geert/files/1024/index.shtml?1072972383
• Net Criticism 2.0 A Fast Conversation of Two Nettime Moderators With Ted Byfield and Geert Lovink http://laudanum.net/geert/files/1006746878/index.shtml?1072972489
• In Search of the Telephone Opera saggio inviato a “Nettime‿ in data 25 luglio 1997 http://amsterdam.nettime.org/Lists-Archives/nettime-l-9707/msg00092.html
Luther Blisset Project (www.lutherblissett.net)
• THE XYZ OF NET ACTIVISM http://www.lutherblissett.net/archive/430_en.html
• MAKING ART ONLINE http://telematic.walkerart.org/timeline/timeline_malloy.html
• ELSEWHERE ON THE NET http://www2.tokai.or.jp/tmano/cel/aw_update.html
Dr. Lev Manovich (firstname.lastname@example.org) is an artist, a theorist and a critic of new media. He lectures frequently on new media theory and aesthetics, and has been a keynote speaker at a number of international conferences. He has published more than forty articles which have been translated into many languages and reprinted in eighteen countries. His book "The Language of New Media" will be published by MIT Press in 2000. In his writings, Manovich places new media within the larger context of modern visual culture, relating it to the histories of art and cinema. Manovich was born in Moscow where he studied fine arts and architecture and participated in the underground art shows. Moving to New York in 1981, he begun working in computer animation in 1984 at Digital Effects, one of the first commercial companies devoted to producing 3D animation for television and film. Manovich received an M.A. in experimental psychology from New York University (1988) and a Ph.D. in Visual and Cultural Studies from the University of Rochester (1993). In 1994 he completed "Little Movies," the first digital film project designed exclusively for the Web. Currently Manovich is an Assistant Professor in the Department of Visual Arts, University of California, San Diego where he teaches studio and theory classes in new media. His articles and projects are available at http://jupiter.ucsd.edu/~manovich
BREVE BIOGRAFIA ARTISTICA
Lev Manovich è nato a Mosca e si è trasfeito a New York nel 1981. Ha studiato belle arti, architettura , animazione e programmazione prima di cominciare a lavorare con i computer media nel 1984. Fino dalla metà degli anni 90, i suoi progetti sono stati esposti nelle principali esibizioni internazionali di arte dei nuovi mezzi di comunicazione. Nel 2003 ICA London ha presentato una retrospettiva dei suoi lavori intitolata “ Lev Manovich: avventure nel cinema digitale.‿ Al momento sta lavorando ad un progetto di 5 anni Soft Cinema che è sostenuto da commissioni della ZKM (2002) e della BALTIC (2003).
BREVE BIOGRAFIA ACCADEMICA
Lev Manovich è un professore associato del Dipartimento di Arti visive dell’Università della California a San Diego dove tiene dei corsi in arte e teoria dei nuovi mezzi di comunicazione. E’ l’autore di Il Linguaggio dei Nuovi Mezzi di Comunicazione ( casa editrice the MIT), Tekstura: Saggio Russo sulla Cultura Visiva ( casa editrice Chicago University, 1993) così come di diversi articoli che sono stati pubblicati in 28 paesi. Manovich è molto richiesto per tenere conferenze sui nuovi mezzi di comunicazione; dal 1999 ha sostenuto oltre 180 conferenze nel Nord e nel Sud America, in Europa e in Asia. I riconoscimenti di Manovich includono la borsa di studio Mellon e quella Guggenheim 2002-2003.
BIOGRAFIA PIU’ ESTESA
Lev Manovich è un professore associato al Dipartimento di Arti visive dell’Università della California a San Diego dove tiene dei corsi in arte e teoria dei nuovi mezzi di comunicazione. E’ l’autore di Il Linguaggio dei Nuovi Mezzi di Comunicazione ( casa editrice the MIT), Tekstura: Saggio Russo sulla Cultura Visiva ( casa editrice Chicago University, 1993) così come di diversi articoli che sono stati pubblicati in 28 paesi.
Il Linguaggio dei Nuovi Mezzi di Comunicazione ha ricevuto più di 50 recensioni ed è stato tradotto in italiano, coreano e cinese. Secondo le recensioni, offre la prima teorizzazione rigorosa ed estesa del soggetto‿( recensioni CCA); “inserisce ( i nuovi mezzi di comunicazione) all’interno della più vasta ed esaustiva storia dei mezzi di comunicazione a partire da Marshall Mc Luhan‿ (Telepolis).
I riconoscimenti di Manovich includono la borsa di studio Guggenheim 2002-2003, la borsa di studio 2002 in Educazione digitale da parte dell’ UC di Santa Barbara, la borsa di studio 2002 dal Zentrum für Literaturforschung e nel 1995 la borsa di studio Mellon dal Cal Arts.
Manovich è nato a Mosca dove ha studiato belle arti, architettura e informatica. Si è trasferito a New York nel 1981 e ha ottenuto un dottorato in arte in Scienze Cognitive. (Università di New York 1988) e un dottorato di ricerca in studi visivi e culturali all’Università di Rochester (1993).
La sua dissertazione del dottorato di ricerca L’ Ingegneria della Visione dal Costruttivismo ai Computer, traccia le origini dei computer media collegandole alle avanguardie degli anni 20.
Manovich ha lavorato con i computer media come artista, animatore al computer, designer, e programmatore fin dal 1984. i suoi progetti artistici comprendono piccoli filmati,
il primo progetto di film digitale progettato per il web, (1994), Freud-Lissitzky Navigator, un software concettuale per la storia del ventesimo secolo, e Anna e Andy, un romanzo a episodi. I suoi lavori sono stati inclusi in diverse mostre internazionali di primo piano sull’ arte dei nuovi mezzi di comunicazione. Nel 2002 ICA a Londra ha presentato la sua mini-retrospettiva con il titolo “ Lev Manovich: avventure del cinema digitale‿ .
Lev Manovich ha insegnato arte dei nuovi mezzi di comunicazione dal 1992. E’ anche stato un commissario esterno all’Istisuto d’arte della California, alla UCLA, all’Università di Amsterdam, all’Università di Stoccolma, all’Università di arte e design a Helsinki. Manovich è chiamato in tutto il mondo per tenere delle conferenze sui nuovi mezzi di comunicazione. A partire dal 1999 ha tenuto più di 180 conferenze nel Nord e nel Sud America, in Europa e in Asia.
Al momento Manovich sta lavorando a un nuovo libro Info-estetica. Il suo progetto artistico più recente è Soft Cinema che è stato commissionato da ZKM per la mostra Cinema del Futuro (2002-2003; come mostra itinerante da Helsinki a Tokyo nel 2003 -2004). I DVD che contengono 3 filmati creati all’interno del progetto Soft Cinema saranno pubblicati nella primavera 2004.
• avantgarde_as_software.doc http://english.ucsb.edu/courses/dept_schedule.asp?CourseID=163
• The death of computer art http://www.thenetnet.com/schmeb/schmeb12.html
• Behind the Screen / Russian New Media  http://www.nettime.org/nettime.w3archive/199707/msg00119.html
• Post-media Aesthetics On how digital communications technologies ultimately question the traditional categories of medium-based art and mass vs. high culture. In Manovich's view, data processing is the key factor of a radically new way of approaching creation, not only in the field of computer science. Manovich teaches at the University of California San Diego. http://www.d-i-n-a.net/it/netcult/index.html
• ON TOTALITARIAN INTERACTIVITY http://www.heise.de/tp/english/inhalt/co/2062/2.html
Marshall Stephen (Guerrilla News Network’s)
• Interview with Stephen Marshall (By Geert Lovink) Guerrilla News Network’s Digital Documentaries http://laudanum.net/geert/files/1071966310/
• Nettime: the legend and the myth http://www.medialounge.net/lounge/workspace/nettime/DOCS/1/info3.html
McVeigh Daniel P.
• A History of Art and Telecommunications http://www.oceanofk.org/technical/Historyartelecom.html
Mikro (Schilling Thorsten, Schultz Pit, Broeckmann Andreas, Arns Inke, Lovink Geert, McCarty Diana, Solfrank Cornelia, Baumgaertel Tilmen, Kaulmann Thomax, Lugert Sebastian, Grassmuck Volker - associazione)
mikro. Initiative for the Advancement of Media Cultures, Berlin/D 9 May 2001, 14:40, updated by email@example.com
Beginnings In March 1998, fifteen artists, theoreticians, journalists, organizers and other cultural producers founded mikro e.V., a Berlin-based initiative for the advancement of media cultures. The founding members work mostly in the field of independent media culture – from video art and electronic music, independent radio and TV production, to creative use of the Internet and digital multimedia technologies. What brings this multi-faceted group together is the need for a critical discussion of the cultural, social and political impact of media in today’s society. This discussion takes place not only within the initiative itself, but also during events that address an interested public. In this way, within the last two and half years an independent Berlin-based platform for media critique has emerged.
Activities mikro’s aim is the creation of a democratic media culture. It fosters the development of such a media culture by presenting and discussing the artistic and cultural applications of the digital, computer-assisted media in public events, including panel discussions, project presentations, conferences (Wizards of OS, House of World Cultures in Berlin, July 1999, http://mikro.org/wos), workshops (net.radio days '98, different spaces in Berlin, June 1998, http://mikro.org/Events/19980606.html) and accompanying publications (Print, Internet, CD-ROM, vgl. http://mikro.org). In the beginning of 2000 mikro initiated Rohrpost, a German-speaking mailing list for media and net culture <http://mikro.org/rohrpost>, as well as the bootlab (http://bootlab.org, since July 2000), a cooperative work place and media lab located in Berlin-Mitte right next to the WMF club. The monthly mikro.lounges which take place at the Berlin WMF club deal with specific questions of media culture (from copyright and cryptography to art and politics on the Internet) and combine the different formats of video screenings, lectures, panel discussions and DJ sets. Besides inviting representatives of Berlin-based cultural initiatives and companies for a presentation of their work, mikro also invites guests from other parts of Germany or the world. In cooperation with national and international partner organisations, mikro invites experts from media culture to Berlin, thereby enriching cultural debates in the city. The consistently increasing number of visitors serves as evidence of the need for these events.
Network Structure The name „mikro" is programmatic: the initiative does not intend to develop into an institutional makro structure, but instead focuses on small, distributed, yet no less influential capillary structures, through which the media and technologies exercise power within art and society. mikro and its members are a genuine part of this mikrological field which is characterized by its heterogenous, multi-faceted and networked elements. These networks, from which mikro's work emerges, exist parallel to commercially formed social structures and are based on relations of trust and the gift economy. The diversity and the fragility of this network of relationships is the reason for the careful formulation of the aim of the association: "advancement of media cultures". mikro thereby stresses the importance of the heterogeneity of social and cultural practice.
Partners Over the past ten years, a network of independent media cultural institutions and groups has developed in Europe and beyond. Big media centers, artistic research laboratories, producers’ galleries, media art festivals, magazines, Internet radios, etc., are cooperating in ever new project-bound constellations and thus create a dynamic, translocal process of media cultural production and reflection. Engineering and cultural research, artistic and technological development, production, presentation, and critical analysis and discussion influence and permeate one another. mikro takes part in these processes within both a local and international context as its members, while organizing mikro's own events, are regularly invited to take part in events inside and outside Germany. The collaboration within the association bundles and strengthens these movements and this energy. The explicit aim is to contribute to the development of an open and democratic media culture in the often mentioned knowledge and information society.
• mikro.lounge #10: Digital International - Electronic Nets as a Political Medium http://mikro.org/Events/19990113E.html
• War of the Words: Ersatz E-Mail Tilts at Art http://calarts.edu/~bookchin/nytimes.html
Mongrel is a mixed bunch of people and machines working to celebrate the methods of an 'ignorant' and 'filthy' London street culture. We make socially engaged cultural product employing any and all technological advantage that we can lay our hands on. We have dedicated ourselves to learning technological methods of engagement, which means we pride ourselves on our ability to programme, engineer and build our own software and custom hardware. The Core Members are Matsuko Yokokoji, Richard Pierre-Davis and Harwood. agency As well as starting and producing its own projects,Mongrel also works as an agency through which projects by other people can be set up and co-ordinated. This means that who does what isn1t as important as what gets done. network We are as much about hip hop as about hacking. Mongrel makes ways for those locked out of the mainstream to gain strength without getting locked into power structures.Staying Hardcore means that Mongrel can get the benefit of sharing the skills and intelligence of people and scenes in similar situations, as well as dealing with other kinds of structures on our own terms. collaborations Mongrel rarely operates as just a core group. We prefer to work on a range of specific collaborations. These can be with organisations, individuals or groups. The ability to plug into different skills, structures or ways of doing stuff means we get to stay fresh.
• Mongrel Statement http://www.mongrelx.org/About/history.html#statement
• Interview with Milton Mueller (by Geert Lovink) ICANN, WSIS and the making of a global civil society http://laudanum.net/geert/files/1071966086/
• Introductory Notes to THE FILE ROOM http://www.thefileroom.org/documents/Intro.html
• interview with Antonio Muntadas (by Josephine Bosma) http://laudanum.net/cgi-bin/media.cgi?action=display&id=953753375
In 1995, Mark Napier turned away from painting and began experimenting with virtual information and its translation to visual form, creating such well- known projects as Shredder, Feed (which was recently featured in the San Francisco MoMA's exhibit) and the Digital Landfill featured here. Napier's online work has been reviewed in major periodicals such as ArtForum and HotWired and has received awards/recognition at the Ars Electronica 98, WNET's ReelNY.Web project, the ASCI Digital Art 98 show, and the Berlin Transmediale Festival 99.
Mark Napier, a painter turned digital artist, packed up his paints in 1995 to create artwork exclusively for the web. Since then he has created a wide range of internet projects including Digital Landfill, The Shredder, The Distorted Barbie, and Potatoland.org, his studio on the web. Noted for his innovative use of the web as an art medium and for his open ended evolving artwork, Napier's work has been reviewed in the New York Times Online, HotWired, Art Forum, Publish, Yahoo magazine, and the Village Voice. His work has been awarded honorable mention by Ars Electronica 98 and has been chosen for WNET's ReelNY project, the ASCI Digital Art 98 show, and the Berlin Transmediale Festival 99.
• INTERVIEW OF MARK NAPIER BY KRISTINE FEEKS Spring 2001. http://art.colorado.edu/hiaff/interview.php?id=47&cid=8
• The Aesthetics of Programming Interview with Mark Napier by Andreas Broegger http://www.noemalab.com/sections/ideas/ideas_articles/broegger_napier.html
Nettime (www.nettime.org) (Geert Lovink, Pit Schultz)
<nettime> is not just a mailing list but an effort to formulate an international, networked discourse that neither promotes a dominant euphoria (to sell products) nor continues the cynical pessimism, spread by journalists and intellectuals in the 'old' media who generalize about 'new' media with no clear understanding of their communication aspects. we have produced, and will continue to produce books, readers, and web sites in various languages so an 'immanent' net critique will circulate both on- and offline.
<nettime> is slightly moderated.
history: the formation of the nettime group goes back to spring 1995. A first meeting called <nettime> was organized in june 1995, at the Venice Bienale, as a part of the Club Berlin event. The list itself took off in the fall. A first compilation on paper appeared in January 1996, at the second Next Five Minutes events (the so-called ZKP series). The list organized its own conference in Ljubljana in May 1997, called 'The Beauty and the East'. A 556 pages nettime anthology came out in 1999: Readme! Ascii Culture and the Revenge of Knowledge. Autonomedia: New York (ISBN: 1570270899).
feb 96 Geert Lovink, Pit Schultz july 99 modified by Ted Byfield, Felix Stalder
Last change: september 2001
Neural (www.neural.it) (Alessandro Ludovico)
• Dalla genetica alla poesia: tanti modi per dire net art http://www.mytech.it/mytech/speciali/d006010024474.jsp
Noema (Pierluigi Capucci)
Noll Michael A.
• EXAMPLES OF EARLY COMPUTER ART http://www.citi.columbia.edu/amnoll/CompArtExamples.html
• COMPUTER ART http://www.citi.columbia.edu/amnoll/Computer_Art.html
Randall Packer's work as a composer, media artist and producer/curator has focused on the integration of live performance, technology and the interdisciplinary arts. From the revival of avant-garde music theater to the creation of new interactive media work, he has bridged current issues in art and technology with seminal interdisciplinary ideologies from throughout the 20th century. As founding Artistic Director of Zakros InterArts in San Francisco, he has produced, directed and created critically acclaimed multimedia theater works including Sur Scene by Mauricio Kagel (1988), Theater Piece by John Cage (1989), Originale by Karlheinz Stockhausen (1990) and Arches by Randall Packer (1991). He produced the Deep Listening new music series (1991-93) as well as organized and directed the annual John Cage Memorial MusiCircus (1992-94). Knossos, his work for piano, percussion and live electronics, was commissioned by Radio France and performed in Paris (1993). He has co-produced and composed music for CD-ROM under the Chronic Art series, computer films that were premiered at the 1996 San Francisco International Film Festival and the Mill Valley Film Festival. In 1997, he completed the collaborative sound-text work, Through Invisible Cities, performed at the Yerba Buena Center for the Arts in San Francisco and released on CD (1998). Pleasure Island, an on-line multi-user virtual community was presented at the USC School of Cinema's conference, Interactive Frictions (1999). The work will be presented again in the fall at the Mill Valley Film Festival. Also this fall, his collaborative installation Mori was selected for the 1999 Biennial Exhibition at the InterCommunication Center (ICC) in Tokyo, and his net project, the Telematic Manifesto, has been included in ZKM's (Center for Art and Media) Net_Condition exhibition. Formerly director of the San Francisco State University Multimedia Studies Program and Director of Multimedia at the San Jose Museum of Art, he is currently on the faculty of the Department of Art Practice at the University of California, Berkeley where he teaches the history, theory and practice of digital media. He is also currently at work on a series of books focusing on the history of multimedia, to be published by W.W. Norton (2000).
• UTOPIANISM, TECHNOLOGY, AND THE AVANT-GARDE: THE ARTIST SHAPING THE SOCIAL CONDITION http://www.zakros.com/bios/utopianism.html
• La net art come il teatro dei sensi. Un viaggio in JODI e Grammatron http://www.archimuse.com/mw98/beyondinterface/packer_senses.html
Rae Huffman Kathy
• Curating and Conserving New Media http://www.heise.de/tp/english/pop/event_2/4114/1.html
Reclaim Net Art
• WHO NEEDS THE ART WORLD ? http://www.nettime.org/nettime.w3archive/199610/msg00062.html
Rhizome (www.rhizome.org) (Tribe Mark, Alex Galloway)
Rhizome.org is about as old as net art, but has outlived the genre it helped build. Now what? Always fresh with its net art news, commissions, Rhizome RAW and DIGEST mailing groups, and alt.interface experiments in data visualization, the site is perhaps most known for its growing ARTBASE, an art database that both clones and links to some of the best net art you'll ever want to spend time with. THE new media resource on the WWW, don't leave home without it (yes, it's available for your Palm too via Avant-Go).
Alex Galloway is Webmaster for RHIZOME (www.rhizome.org), a leading platform for new media art. Galloway has been largely responsible for the development of RHIZOME's archiving and indexing techniques specific to internet art discourse and is currently developing new visual interfaces for navigating information. He is editor of the forthcoming book "RHIZOME: Net Art Documents."
Rhizome.org is a nonprofit organization that was founded in 1996 to provide an online platform for the global new media art community. Our programs and services support the creation, presentation, discussion and preservation of contemporary art that uses new technologies in significant ways. Our core activities include commissions, email discussions and publications, this web site, and events.
The Rhizome.org community is geographically dispersed, and includes artists, curators, writers, designers,programmers, students, educators and new media professionals.
David Ross, former director of SFMOMA and the Whitney, was one of the first major institutional voices to directly address many of the issues brought up by the appearance of net art. At times insightful, uncertain, excited and critical, Ross' lecture firmly places Internet art in the tradition of other media like video art while acknowledging its breakaway potential.
• Net.art in the Age of Digital Reproduction Transcription of Lecture by David Ross, San Jose State University, March 2, 1999 http://switch.sjsu.edu/web/ross.html
Shanken Edward A.
Edward A. Shanken is an art historian and media theorist whose research focuses on 20th century experimental art. He is editor of the first English language collection of Roy Ascott's writings, Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness, forthcoming from the University of California Press, 2001. Recent and forthcoming publications include articles on the history of art and technology, art and cybernetics, telematic art, artificial life and art, conceptual art, and interactive multimedia. Shanken holds graduate degrees from Yale (MBA, 1990) and Duke (MA, Art History, 1999). He wrote his doctoral dissertation on "Art in the Information Age: Cybernetics, Software, and Telematics," and anticipates receiving his Ph.D. in Art History from Duke in May, 2001. He was a Fellow in Arts Administration at the National Endowment for the Arts in 1991 and a Henry Luce/American Council of Learned Societies fellow in 1998-99. He is a member of the editorial board of Leonardo Digital Reviews, and a participant in the Leonardo Pioneers and Pathbreakers of Electronic Art online project. More information about Edward A. Shanken is available at his website
• Telematic Embrace: A Love Story? Roy Ascott's Theories of Telematic Art http://telematic.walkerart.org/timeline/timeline_shanken.html
• Art in the Information Age: Technology and Conceptual Art http://www.duke.edu/~giftwrap/InfoAge.html
• Cornelia Sollfrank interviewed by Florian Cramer Hacking the art operating system http://userpage.fu-berlin.de/%7Ecantsin/homepage/writings/art/interview_cornelia_sollfrank//sollfrank_interview_en_long.txt
Strano Network (Tommaso Tozzi, Stefano Sansavini, Ferry Byte, Luca Scarlini, Storai Francesca, Maltinti Carla, Federico Bucalossi, Barbara Gualtieri e altri)
• Interfaccia fluttuante e diritto alla comunicazione http://www.strano.net/town/arte/freeart/tozzi/txt/fluttua.htm
• etoy agents; corporate art http://www.blasthaus.com/press/surface/index.html
Alexei Shulgin provides an essay discussing the open source ideology of net art that poses the question "Who is going to become the Microsoft of net art in the near future?" The contemporary art system was based on the vertical and hierarchical system of distribution of information. However, the age of excessive information is allowing net art to travel in new directions, destroying the vertical and hierarchical system of distribution of information
Alexei Shulgin has been creating Internet Art since 1994, and lecturing at art academies on the topics of Contemporary Art, New Media Art, photography and Internet Art since 1996. Some of his highly acclaimed projects include Desktop Is, Refresh (with Vuk Cosic and Andreas Broekman), and Remedy for Information Disease.
• Who Drew the Line? (by Shulgin Alexei e Vuk Cosic) http://www.nettime.org/desk-mirror/zkp2/theline.html
• Net.Art - the origin http://amsterdam.nettime.org/Lists-Archives/nettime-l-9703/msg00094.html
• Interview with Alexeij E.Shulgin (by Armin Medosch 22.07.1997) http://www.heise.de/tp/english/special/ku/6173/1.html
• Art, Power, and Communication http://www.nettime.org/nettime.w3archive/199610/msg00036.html
• The #Refresh Action Manifesto http://www.nettime.org/nettime.w3archive/199610/msg00000.html
• independent net.art Alexei Shulgin (from the Moscow www artcentre), Joan Heemskerk and Dirk Paesmans (Jodi) talk about net.art. (Interview by Josephine Bosma) http://www.nettime.org/nettime.w3archive/199707/msg00014.html
• Open sources in net art http://www.mikro.org/Events/OS/ref-texte/shulgin.html
• the final content http://www.ljudmila.org/~vuk/nettime/zkp4/51.htm
Syndicate (http://colossus.v2.nl/syndicate/index_frames.html) (Broeckmann Andreas, Arns Inke)
• A Translocal Formation. V2_East, the Syndicate, Deep Europe (by Broeckmann Andreas) http://framework.v2.nl/archive/archive/node/text/default.py/nodenr-154383
The Thing (bbs.thing.net/login.thing) (1991) (Wolfgang Sthaele, Ehrenfried Gisela, USA)
In 1991, THE THING began as a Bulletin Board System focusing on contemporay art and cultural theory. In 1995, THE THING was renovated and moved its wares onto the web. In 1998, Max Kossatz designed "The Thing Communicator" which gave THE THING its present form and shape.
• WEB.ART'S NATURE http://members.tripod.com/~aaart/webartsn.htm
The Webby Awards are marketed as the web equivalent of the Oscars but of course they are nothing of the sort. Still, every year one category gets the attention of the net population more than others and that's the Art category. With name artists like Laurie Anderson and David Bowie helping make the decisions, how can it not? When it came time to picking the winner of the web art award for 2001, the distinguished panel of net art judges carried on an interesting email dialogue among themselves that Rhizome Director Mark Tribe was kind enough to share excerpts of. And the winner is...? Net art -- of course.
Mark Tribe is the founder and Executive Director of Rhizome Artbase. Despite his high rank in the Internet art world, his identity remains elusive. Mark Tribe is an artist and curator whose interests lie at the intersection of emerging technologies and contemporary art. He is Director of Digital Media at the Columbia University School of the Arts. In 1996, he founded Rhizome.org, an online platform for the international new media art community. He served as Executive Director of Rhizome.org until mid-2003. He remains on the Rhizome.org board of directors, and also serves on the board of ISEA, the Inter-Society for the Electronic Arts. His latest net art project, Revelation 1.0 <http://nothing.org/revelation>, was commissioned by Amnesty International. Recent curatorial projects include Agenda for a Landscape, a new media installation by Leah Gilliam at the New Museum of Contemporary Art in New York City, and the computer art section of Game Show, an exhibition of artist's games at MASS MoCA in North Adams, Massachusetts. In 2002, Mark was Visiting Assistant Professor and Artist in Residence at Williams College. Prior to founding Rhizome.org, Mark lived in Berlin, where he made art and designed web sites at Pixelpark GmbH. He speaks widely on new media art and related issues and serves on the board of directors of ISEA, the Inter-Society for the Electronic Arts. Mark received a MFA in Visual Art from the University of California, San Diego in 1994 and a BA in Visual Art from Brown University in 1990.
• Archiving net.art http://www.afsnitp.dk/onoff/Texts/tribearchivingne.html
• What Counts As Net Art? (by Sara Diamond, Christiane Paul e Mark Tribe) http://rhizome.org/thread.rhiz?thread=1824&text=2773
• A Preliminary Thesis Toward "The Work of Art in the Age of Cyber Technology" http://www.radioqualia.net/ctl/texts/tu.html
V2_Organisatie (Rotterdam) (Alex Adriaansens)
V2_Store offers a broad selection of publications on contemporary media culture, in both a physical shop and via its online service. V2_Store sells books, magazines, CDs, LPs, CD-ROMs, videos, DVDs and other information carriers that provide background and depth to the subjects that V2_ concerns itself with. V2_ is an organization that concerns itself with research and development in the field of art and media technology. V2_’s activities include organizing (public) presentations, research in its own media lab, publishing, developing an online archive and a shop offering products that are related to V2_’s areas of interest.
V2_ is active in a many-branched network of artists, theorists and researchers who work in areas such as electronic art, media, science and technology, and closely collaborates with similar centers for media art both in the Netherlands and abroad. V2_ actively takes part in many local, national and international network initiatives that facilitate interdisciplinary collaboration within media culture, which has led to a number of permanent collaborations.
Alex Adriaansens studied at the Royal Academy of Art and Design in "s-Hertogenbosch, the Netherlands. He is the director of V2_Organisation, which he cofounded in 1981. He is also a member of several advisory boards for organizations including De Berlage Institute, an architecture research center in Rotterdam; the Transmediale in Berlin; and the Piet Zwart Institute. He is on the advisory committee of the (Dutch) Foundation for Visual Arts, Architecture and Design. He has given presentations at many festivals and art institutes, including Dokumenta X, the Guggenheim Soho, Videopositive, the Museum of Modern Arts in Stockholm, arch+film.graz, and ISEA.
• Digital territories http://framework.v2.nl/archive/archive/node/text/default.py/nodenr-67349
Velena Helena (www.helenavelena.com)
Victoria Vesna is an installation and performance artist working with electronic technology. She has exhibited internationally at a number of shows including the Venice Biennale (86), P.S.1 Museum, NY (89), Long Beach Museum (93), Ernst Museum of Budapest (94), and at the San Francisco Art Institute. Her work has moved from performance and video installations, to experimental research that connects networked environments to physical public spaces. She is interested in questioning ways that constructions of physical and ephemeral spaces effect collectively embodied behaviour. Her collaborative project, "Bodies INCorporated," is devised to facilitate exploration into the social psychology of group dynamics, actualized in corporate structure. Vesna co-organized "Terminals," an online exhibition/conference distributed across seven of the UC campuses dealing with the cultural production of death.
• Database Art Practice (capitolo della tesi “NETWORKED PUBLIC SPACES: An Investigation into Virtual Embodiment‿) http://vv.arts.ucla.edu/publications/thesis/official/NET_thesisF.doc
• Emergence of Telematic Culture (capitolo 2 della tesi “NETWORKED PUBLIC SPACES: An Investigation into Virtual Embodiment‿) http://vv.arts.ucla.edu/publications/thesis/official/ch2.htm
• Art/politics in the online universe http://on1.zkm.de/netcondition/curators/weibel/default_e
• Homework As Hierarchy: Towards The Demise Of Institutional Constraints And Circuitry http://calarts.edu/~bookchin/weibel.html
• Momente der Interaktivität _ http://www.aec.at/20Jahre/artikel.asp?jahr=1989&nr=1989_087&band=1
Weil Benjamin Benjamin Weil is the co-founder and curator of ada 'web, a production of Digital City Studio, a division of Digital City, Inc. • UNTITLED (ÄDA'WEB) A Brief History of äda'web http://www.walkerart.org/gallery9/dasc/adaweb/g9_ada_weil.html
• Can Consumer Companies Profit From Web Art Experiments? http://www.atnewyork.com/news/article.php/250851
• Telnetlinks. Art Com. NOVEMBER 1991. VOLUME 11 NUMBER 10 http://lists.village.virginia.edu/listservs/pmc-talk/essays/artcom.mailart
A telecommunications event based upon the children's game whereby a secret message is whispered from person to person till it arrives back at its originator. In this case a message was sent around the world in 24 hours, roughly following the sun, via a global computer network (I. P. Sharp Associates). Each of the eight participating centres was charged with translating the message into a different language before sending it on. The whole process was monitored at Toronto's A-Space. http://www.normill.com/artpage.html
UN'ALTRA LISTA DA INTEGRARE ALLA PRECEDENTE
ARTISTI E CRITICI ARTI DELLE RETI
®™ARK (www.rtmark.com , USA) 0100101110101101.ORG (www.0100101110101101.ORG)7-11
AHA (Tatiana Bazzichelli)
Barbie Liberation Organization
Billboard Liberation Front
Breeze Mary Anne aka Mez
Broeckmann Andreas (Transmediale, Berlin)
Bureau of Inverse Technology
Candida TV (candida.kyuzz.org)
Copydown (www.copydown.org) (Oedipa)
Cosic Vuk (www.ljudmila.org/~vuk/)
Critical Art Ensemble (www.cae.org)
Van der Cruijsen Walter (Desk.nl – Desk.org, The Flying Desk, Salon Digital – Zkm)
Electronic Disturbance Theatre (www.thing.net/~rdom/ecd/ecd.html) (Ricardo Dominguez, Karasic Carmin, Brett Stalbaum, Wray Stephen USA)
Etoy (www.rtmark.com/etoy.html) (Grether Rheinold)
Fakeshop (Thacker Eugene)
Giovanotti Mondani Meccanici (www.dada.it/gmm/)
Home Stewart (Neoismo)
I/O/D (Harwood Graham, Fuller Matthew, Pope Simone, Green Colin)
Irational.org (baker rachel)
Jaromil aka Denis Joio (www.dyne.org)
Institute of Apllied Autonomy
Jodi aka Heemskerk Joan e Paesmans Dirk
Lovink Geert, (Olanda)
Luther Blisset Project (www.lutherblissett.net)
Mikro (Schilling Thorsten, Schultz Pit, Broeckmann Andreas, Arns Inke, Lovink Geert, McCarty Diana, Solfrank Cornelia, Baumgaertel Tilmen, Kaulmann Thomax, Lugert Sebastian, Grassmuck Volker - associazione)
Nettime (www.nettime.org) (Geert Lovink, Pit Schultz)
Neural (www.neural.it) (Alessandro Ludovico)
Nezvanova Netochka aka Antiorp
Noema (Pierluigi Capucci)
Nullpointer (Tom Betts)
Plagiarist.org (Amy Alexander)
Postaxion Mutante (www.strano.net/mutante/)
Radical Software Group
Redundant Technology Initiative (RTI)
Rhizome (www.rhizome.org) (Tribe Mark, Alex Galloway)
Strano Network (Tommaso Tozzi, Stefano Sansavini, Ferry Byte, Luca Scarlini, Storai Francesca, Maltinti Carla, Federico Bucalossi, Barbara Gualtieri)
Sollfrank Cornelia (Hamburg)
Surveillance Camera Players (Brown Bill)
Syndicate www.v2.nl/mail/v2east/ (Broeckmann Andreas, Arns Inke)
Technologies To The People®
The Thing (bbs.thing.net/login.thing) (Wolfgang Sthaele, Ehrenfried Gisela, USA)
The Cultural Terrorist Agency (CTA)
Telepolis (Medosch Armin, Baumgaertel Tilman)
Undo (Claudio Parrini)
Vns Matrix (ex Velvet Downunder) - (Starrs Josephine, Pierce Julianne, Barratt Virginia, Da Rimini Francesca)
Verde Giacomo (www.verdegiac.org)
Vote Auction (ex Baumgartner Troy James) (Bernhard Hans, Lizvlx - “Ubermorgen‿)
Wu Ming (www.wumingfoundation.com)
ARTISTI ALTRE CORRENTI (avanguardie, …)
Balestrini Nanni (Gruppo 63?)
Baroni Vittore (Mail Art)
Beuys Joseph (Arte sociale)
Cage John (Fluxus)
Chiari Giuseppe (Fluxus)
Ciani Piermario (Mail Art)
Curch of the SubGenius (Plagiarismo)
Isou Isidore (Lettrismo)
Jarry Alfred (Dada)
Karen Eliot (Neoismo)
La Monte Young (Fluxus)
Maciunas George (Fluxus)
Moorman Charlotte (Fluxus)
Paik Nam June (Fluxus)
AndyLand.Net Art & Activism
Another World Is Possible
Chaos Computer Club
Coalition for a Democratic Pacifica
Decoder (Gomma, Raf Valvola)
Electro Hippies (o Electrohippies) www.fraw.org.uk/ehippies/index.shtml
Electronic Frontier Foundation (www.eff.org)
Federation of Random Action
Free Software Foundation e progetto GNU di R. Stallman
Isole nella Rete (European Counter Network)
Linux Public Broadcasting Network
Media Filter www.mediafilter.org
Mitnick Kevin “Il condor‿
Net Institute (Pasquinelli Matteo, Bifo, Bologna)
Peacelink (Carlo Gubitosa)
Rekombinant (www.rekombinant.org) (Franco Berardi “Bifo‿, Matteo Pasquinelli)
sabotage & the new world order
Sniggle.net - The idiosyntactix Culture Jammer's Encyclopedia
Tactical Media Crew (www.tmcrew.org)
The Balkans Pages
The Cult of The Dead Cow (cDc)
The Hacktivist (www.thehacktivist.com)
The High Tech Gift Economy by Richard Barbrook
Third World Newsreel
Velena Helena (www.helenavelena.com)
Video Activist Network
Women In Black
World War 3 Report
Xs4all (www.xs4all.nl) (Patrice Riemens, Olanda)
INTELLETTUALI, FESTIVAL E ALTRE ISTITUZIONI
Alfano Miglietti Francesca
Allucquère Rosanne Stone
Ars Electronica (manifestazione, Linz)
Art+Communication (manifestazione, Riga)
Backspace (Stevens James – Heath Bunting, centro culturale, Londra)
Backspace Radio (net radio)
Bataille Georges (Surrealismo)
Beauty and the East
Berners Lee Tim
Bey Hakim – Lamborn Wilson Peter
Bootlab (centro culturale, Berlino)
Burroughs William S.
Carola Freschi Anna
C³ Center for Culture & Communication (centro culturale, Budapest)
Center for the Study of Political Graphics (CSPG)
Cyberconf (manifestazione, Madrid)
De Balie (Kuypersm Paul) (centro culturale, Amsterdam)
DDS - De Digitale Stad – Digital City (Riemens Patrice)
De Kerchove Derrick
De Landa Manuel
De Waag, Amsterdam
di Corinto Arturo
Dia Artists' Web Projects
D.I.N.A. (digital_is_not_analog) (manifestazione)
Dyne (Jaromil, centro culturale, Vienna)
e-Lab (Smite Rasa, Smits Raitis, Garancs Janis, Tifentale Alise, centro culturale)
Festival for Unstable Media (manifestazione)
Hacking in Progress (manifestazione)
Haraway J. Donna
Interstanding – Understanding Interactivity (convegno)
Irational Radio (net radio, Londra)
ISOC Italia (Mario Chiari)
Kunst Radio (net radio, Vienna)
Live Magazine (ciclo di conferenze al centro culturale De Balie) (Stikker Marleen)
Ljubliana Digital Media Lab (Frehli Luka, Cosic Vuk, Peljhan Marko, centro culturale, Slovenia)
Mallarmé Stephen (Simbolismo)
Media Circus (manifestazione)
Moscow WWWArt Centre
Net condition (manifestazione)
Net.Radio Days (manifestazione)
Next 5 Minutes (manifestazione)
Orang (Open Radio Archiving Network Group, Kaulmann Thomax)
Ova (Open Video Archive)
OZOne (net radio)
Pararadio (net radio, Budapest)
Public Netbase Media~Space! (Becker Konrad, De Sousa Francisco, Ringler Webber e Marie, Vienna)
Queneau Raymond (Surrealismo)
Radio International Stadt (net radio, Berlino)
Radioqualia (Hyde Adam, Harger Honor, net radio, Adelaide)
Read_Me Festival (manifestazione)
Society for Old and New Media (Amsterdam)
Stone Allucquere Rosanne
V2 (Rotterdam) (manifestazione)
World Information (manifestazione)
Wright Frank Loyd (Architettura organica)
Zkm (Zentrum fur Kunst und Medientechnologie, centro culturale, Weibel Peter, Karlsruhe)