Net condition

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Net condition


Net Condition








E' stata una delle prime riflessioni sulla presentazioni di opere di Net Art in un contesto museale.

“un grande spettacolo realizzato tra il 1999 e il 2000, che si concentrava specialmente sulle arti basate sulla Rete e si focalizzava su come la tecnologia digitale influisce sulla nostra vita quotidiana, sull'arte e la scienza." (

net condition An exhibition, which as a multi-local networked event takes place simultaneously in Karlsruhe (ZKM), Graz (steirischer herbst), Tokio (ICC Intercommunication Center) und Barcelona (MECAD Media Centre d'Art i Disseny).

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An exhibition of net-art in the Center for Art and Media Technology (ZKM) in Karlsruhe, Germany. But - can net-art really be exhibited? As the title of the exhibition supposes, net_condition is not about "net-art for net-art's sake"; rather, it's about the artist's look at the way society and technology interact with each other, are each other's "condition": At the dawn of information society, there's a growing demand for knowledge, data exchange, entertainment, and it frequently has to be "just in time", "on demand", "in real time". The technical answer to this is called "internet". At the same time, the net itself is shaping society, new fields of social, commercial, and artistic interaction emerge. There are new possibilities, even those no one ever asked for. In this rich field of opportunities, utopian and emancipatory hopes re-appear on stage; equality of chances, world citizenship, participation without borders are regarded as technically doable and are promoted by private communities, while the global players in the commercial world go for their goals with the very same technical means. Social interaction is changing with the net. From the point of view of the history of media, we also see a change in the way people play music, remember, tell stories, design, play. net_condition is talking about how these changes are reflected, presented, and researched by net artists. Also, net_condition is about how events in real space and events in the virtual "space" of the net react to each other, trigger each other, or just collide. Distributed Virtual Reality, Shared Cyberspace, non-local communications, multi user environments and net games - these are some of the main topics of net_condition. For Peter Weibel, head of the ZKM and curator of net_condition, has high hopes for the role net-art is about to play. Says he: »At present, net art is the driving force, which is the most radical in transforming the closed system of the aesthetic object of modern art into the open system of post-modern (or second modern) fields of action.



Daniel Garcia Andùjar
ASCII Art Ensemble
Giselle Beiguelman
David Blair
Blank and Jeron
Luther Blissett
Natalie Bookchin
Daniel Burckhardt, Roberto Cabot, Jürgen Enge, gruppo A12, Udo Noll, Philip Pocock, Wolfgang Staehle, Florian Wenz, Birgit Wien and øthers
Janet Cohen / Keith Frank / Jon Ippolito
Nicolas Collins
Shane Cooper
Vuk Cosic
Jordan Crandall
Critical Art Ensemble
Douglas Davis
Andy Deck & Mark Napier
esc to begin
Ken Feingold
Masaki Fujihata
Johannes Goebel / Torsten Belschner / Bernhard Sturm
Ken Goldberg & Bob Farzin
Steven Greenwood
Lynn Hershman
Markus Huemer
Timothée Ingen-Housz
Institute for Applied Autonomy
Knowbotic Research
Konsum Art.Server
Olia Lialina
Lev Manovich
Jenny Marketou
Mark Napier
Old Boys Network
Randall Packer
Alexandru Patatics
Redundant Technology Initiative
Paul Sermon
Jeffrey Shaw
Alexej Shulgin
Wolfgang Staehle
Niek van de Steeg
Mark Trayle
Victoria Vesna
Marciej Wisniewski
Jody Zellen
Golo Föllmer
Sergi Jordà
Peter Mühlfriedel/Gundula Markeffsky/Leonard Schaumann
Peter M. Traub
Dave Bruckmayr and Gaylord Aulke
Marc Lafia


Daniel García Andújar: Technologies To The People®
ASCII Art Ensemble
Backspace: Backspace
Giselle Beiguelman: The Book After the Book
David Blair: Waxweb
Natalie Bookchin & Alexej Shulgin / Blank & Jeron: Introduction to
Blank and Jeron: re-m@il
Luther Blissett: The net.INSTITUTE as urban interface
Natalie Bookchin: Intruder
Daniel Burckhardt, Roberto Cabot, Jürgen Enge, gruppo A12, Udo Noll, Philip Pocock, Wolfgang Staehle, Florian Wenz, Birgit Wien and øthers: HUMBOT
Janet Cohen / Keith Frank / Jon Ippolito: The Unreliable Archivist
Nicolas Collins: Truth In Clouds
Shane Cooper: Remote Control
Vuk Cosic: ASCII History of Art for the Blind
Jordan Crandall: Drive, Track #3
Critical Art Ensemble: Cult of the New Eve
Douglas Davis: The World's First Collaborative Sentence
Andy Deck & Mark Napier: Graphic Jam
esc to begin: an open source media art project
Ken Feingold: Séance Box No.1 (work in progress)
Masaki Fujihata: Impressing Velocity with Motion Platform
Masaki Fujihata: Nuzzle Afar
Johannes Goebel / Torsten Belschner / Bernhard Sturm: Musikschrank Rheingold
Ken Goldberg & Bob Farzin: Dislocation of Intimacy
Steven Greenwood: Woven Presents
Lynn Hershman: The Difference Engine #3
Markus Huemer: The Rules Are No Game [MAOD]
Timothée Ingen-Housz:
Institute for Applied Autonomy: Contestational Robots
I/O/D: Web Stalker
Knowbotic Research: IO_decencies/lavoro immateriale
Konsum Art.Server: LinX3D
Olia Lialina: File Transfer Protocol
Lev Manovich: The Freud-Lissitzky Navigator
Jenny Marketou: SMELL.BYTES(TM)
mikro: mikro e.V.
Mongrel: Natural Selection
Mark Napier: digital landfill
Old Boys Network:
Randall Packer: The Telematic Manifesto
Alexandru Patatics
Redundant Technology Initiative: Redundant Technology Initiative
Paul Sermon: The Tables Turned
Jeffrey Shaw: The Distributed Legible City
Jeffrey Shaw: The Net.Art Browser
Alexej Shulgin: FuckU-FuckMe
Wolfgang Staehle: Empire 24/7
Niek van de Steeg: A Correction Structure
Mark Trayle: ¢apital magneti¢
Victoria Vesna: ZKM Bodies: Building a Community of People with No Time
Marciej Wisniewski: netomatª
Xchange: Xchange
Jody Zellen: Ghost City
sha.™ summer99
Golo Föllmer, Ines Ruhstrat hudba 3000
Sergi Jordà, Toni Aguilar, La Fura dels Baus F@ust Music On Line
Leonard Schaumann, Gundula Markeffsky, Peter Muehlfriedel electrica
Peter M. Traub Bits & Pieces
Dave Bruckmayr and Gaylord Aulke: Art Reporter
Marc Lafia: The Vanndemar Memex or Laura Croft Stripped Bare by her Assassins, Even

Sito web


Peter Weibel

netz_bedingung / net_condition

Art/politics in the online universe A new world is being constructed. The world is going online. Online communication provides new technological prerequisites for globalisation. A new global economy emerges, which is no longer based on products, but on time. The Net enables a shift in economy: we no longer pay for the product, but for use of the product, measured in time units. This gives rise to a shift in the central powers of economic development, away from the primary scene of production to the secondary and tertiary sector of services in the fields of distribution, services, communication and information. Historic terms like labor, information, ownership and authorship are stabilized and accentuated in the online universe by cryptographic codes. From knowledge management to consumption, the cryptographic coding of the flow of information is becoming the real source of capital. A net-based economy requires an unforeseen revolution of our historical concepts of society and the individual object. Questions regarding the social as well as the private sphere, ranging from new forms of a telematically defined community to the identification policy of the sexes, will be asked in different terms due to the Net. Society has reached a complex state of development in which a technological instrument like the Net has become indispensable for its functioning. Society invents the Net in order to differentiate itself even further as an information society. Thus there are social conditions demanding and promoting the development of the Net. On the other hand, it is the Net that provides for the potential of and the prerequisites for further development of the information society. The title of this exhibition is to be interpreted exactly in this sense: both as a social and technical condition. Therefore, the exhibition is not entitled, but net_condition as it discusses the social conditions, enforced by the Net, as well as the conditions, which the Net enforces upon society and art. The global Net is the driving force behind a radical economical, social and cultural revolution at the beginning of the next millennium, the outer lines of which become visible in this exhibition for the first time. With about 100 items the exhibition aims not only to provide a comprehensive survey of the current status of international Net art, but it is above all an introduction to the political-economical ideas, social practices and artistic applications of online communication in a Net society. Net art ranging from physically existing local installations to worldwide interlinked computer games has become the forum in which many of the liberating hopes of the historic avant-garde are expressed in new terms. Web art, net-based installations not only present the most topical phase of net art, which dominates the discourse on media after the video based sculpture of the 80s and the computer based interactive installations of the 90s, but also the form of art, to which the highest political hopes are linked. The socially revolutionary utopias of the historic avant-garde, movements of enlightenment, such as freedom of contract, equal opportunities and intercultural emancipation are now to be implemented by technology. This exhibition project is therefore interested in investigating which new conditions are imposed by the Net on historic media and the historically developed forms of communication and economy. With each new medium certain properties are lost as compared to the previous media. However, at the same time a large number of new properties are introduced, which are superior to those of the historic media in specific aspects. Therefore, emerging new media not only eliminate old media, but also impose their new conditions on them. The Photographic Condition by Rosalind Krauss changed painting, video changed cinema, digital technology changed film and video, etc. The Net as a technical disposition changes music, visual culture and literature. Besides Net-based, two-dimensional images and texts on screens there are thus also net-based installations, which adequately expand definitions of Net art that are too restricted. The Net in virtual space controls the sequence of events in real space, and events in space control the sequence of events in the virtual Net space. The structure of non-location, introduced by telephone and television, is reinforced by the Net. Distributed virtual reality, shared cyber space, non-local communication, multi-user environments and Net games are therefore at the focus of this exhibition. In this context, net_condition is not only investigated in view of the image media, but also in view of sound media. Net-based music is an important aspect of this exhibition. Another focal point is the demonstration of specific production procedures for interactive online communication in the Net. In a separate lounge, for which Walter van der Cruijsen is responsible (co-founder of the digital city of Amsterdam), the variety of virtual neighborhoods, numerous urban projects, social interventions and forums for the exchange of opinions, are presented via lectures, performances and online chats. In a news room the visitor can gather extensive information about art and politics in the online universe. It goes without saying that the exhibition will also take place online. Benjamin Weil, to quote just one example, the founder of ada-web and at present net curator at ICA London, will install a historic overview of the major points in the relatively short history of net art, online. There will also be online communications about net-based works of art between Graz, Barcelona, Tokyo and Karlsruhe. Modern art as a response to the machine-based Industrial Revolution created the aesthetic object as a closed system. Post-modernists in response to the post-Industrial Revolution of the information society created a form of art, characterized by undefined fields of characters and action. At present, net art is the driving force, which is the most radical in transforming the closed system of the aesthetic object of modern art into the open system of post-modern (or second modern) fields of action.

“Net_Condition‿ di Peter Weibel

L’utopia rivoluzionaria e sociale della avanguardia storica, i movimenti illuministici, quali la libertà contrattuale, pari opportunità, emancipazione interculturale devono essere oggi attuati dalle tecnologie

“Alla fine del 1999 Weibel ha ideato un esibizione di oltre cento progetti che rappresentano un’introduzione alle idee politiche economiche, pratiche sociali e applicazioni artistiche della comunicazione on line nella Net society. Weibel usa l’esibizione per costruire una posizione teoretica sullo stato dell’arte delle Reti, la sua funzione e le sue caratteristiche di agente per la trasformazione sociale ed estetica. La Rete globale è la forza che guida ad un cambiamento radicale, economico, sociale e l’inizio di una rivoluzione culturale del prossimo millennio. Questa utopia proposta rispecchia le ideologie di alcuni teorici dei media come Pierr Levy e Roy Ascott, nei quali la natura partecipativa dell’arte telematica rappresenta un nuovo catalizzatore per la realizzazione di motivate aspirazioni sociali e filosofiche. Weibel sostiene che “ l’Arte delle Reti è diventata il forum nel quale molte delle speranze di liberazione delle avanguardie storiche sono espresse in nuovi termini.

tratto e tradotto da: Weibel, Net_Condition

Walter van der Cruijsen


theLounge, a place where the public joins artists and cultural activists, plays a major part in the exhibition net_condition. In this mixed-media environment, the audience can browse, search, and 'use' web sites, connect to on-line forums, visit remote locations via web cams and obtain information about the internet projects which are presented in the context of on-line culture at theLounge. This environment, however, is not exclusively dedicated to art-on-the-internet (a.k.a. It also presents works that must be understood in the broader context in which the cultural and political consequences of telecommunication and information technology affects our daily lives, particularly their implications in the sustenance of the freedom of information and protection of privacy. theLounge is located right in the center of the net_condition exhibition space. Artists and independent medialabs have been invited to activate this environment, to present their works, their programmes and their on-line activities. It holds a collection of old and new computers and different input and output media. One can not only surf the web or enter a chat channel, one can actually work there, contribute to the zkm on-line forum, make a printout and scan images. Besides technology, it also offers a resting place, to just sit and watch, to read a book or a magazine, or to discuss artworks with other visitors. theLounge extends what the internet truly is: not just an environment dedicated to the arts, but a social space and a forum. An important element of theLounge is a work space that is used by the invited medialabs. These medialabs exemplify the use of internet technology by artists, art groups and cultural workers, as well as the way internet technology has affected art. theLounge will host a program of bi-weekly events moderated by one medialab and one invited art group. This program will generally consist of artists' presentations, performances, workshops or panel discussions. Some contributions focus on the manipulation of information, others offer alternatives to standard web-browsers. Then Syndicate Mailinglist, a forum for artists and cultural workers in Eastern Europe, will release a book and organize a workshop. There is a reason to use both new and old computers, good and bad connections, digital and analog media. Artists not only use the web for (self-)presentation, they also use it as an observatory. Code is their material, the net is their workspace. Artists' projects associated with theLounge will present, for example, video images converted to moving ascii text, a sewing machine stitching together texts collected from the net on a ribbon, ways of handling broken computer equipment, and proposals for a business model of how to solve the Y2K problem. Outside the exhibition space: a robot will roam around the ZKM and spray texts that have been inputed by theLounge users. theLounge will definitely stop (be on hold), starting from the year 2000 at 00:00 hrs, at least for some part of the installation.

Johannes Goebel

The Net and Music_Conditions

With computer networks and the new opportunities they present we are still searching for specific characteristics and consequences of the Net for the creation of contemporary music. How do production, reception and distribution change, what conditions does the Net impose on us and what conditions do we impose on the Net - what do we demand of new technology in a 'real utopia of art'? "At the heart of a creative learning process, there is a shift from functional conditions in perception, thinking and reacting to mobile methods, which lead to independence and self-discovery. These imply productive thinking and action not directed at results, but rather at operative processes..." This quotation from 1972 did not even remotely refer to computers, but rather to 'new music'. Since the start of the century the discussion of 'individual and collective' in connection with 'democratization and freedom' has led to new directions of artistic production and new contexts for reception. In the 60s and 70s 'democratization' and 'interactivity', 'operative action' and 'creativity of all' were at the center of various artistic directions. The 90s provided the computer network. Again we come across similar approaches in this context. Now we might examine what the connections are over decades, where 'the Emperor's new clothes' are made or hoped for innovation and meaning emerge. The musical program of net_condition can be taken as a point of departure for initial tentative assessments. The musical projects selected by Golo Fšllmer in net_musician allow the visitor to explore various directions, which are provided for us as we 'play music' in the Net. The three installations presented by the Institute for Music and Acoustics within the exhibition present disarranging accents: Truth in the Clouds presents a platform to contact networks of another magical type and to make them sound. Musiktruhe Rheingold feeds Internet radio stations into a 50s living room as a time machine, while ¢apital magneti¢ transforms a bank automatic teller into a music machine adapted to personal credit cards. In a Cyber-Session between California and Baden the musicians are directly linked up via the Internet. Scanner on the other hand filters the initial material for his music from the data flows on the Internet and from the networks of wireless communication surrounding us. In a concert, the special ZKM audio network becomes an integral part of the presentations: a new type of version of the live electronic classic I'm Sitting in a Room by Alvin Lucier uses several rooms in the ZKM simultaneously as resonators. Fibre Jelly is a re-mix of six live electronic artists in separate studios linked via the internal fiber optic network dedicated to audio only. For the opening of net_condition, The Users will present their Symphony #2 for Dot Matrix Printers, a network of computers and dot matrix printers printing and making sounds, and Mark Trayle asks the audience to lend him some credit cards for a performance of ¢apital magneti¢. It should be noted that the Net has at this point in time mainly far-reaching consequences for the distribution of music. From this there are changes in the economic and cultural conditions of music-producers and listeners. It does not yet appear to be directly evident as to how the Net will entice a specific, different and new music.

Golo Föllmer

Net music for everyone!

The computer, for many years a music laboratory only for highly specialized technologists, by now being networked has become a sphere of musical creativity for a wide clientele. Experimental artists from the techno-scene and jamming synthetic rock musicians, software specialists with a systemic mind and conceptual media artists are presented, as are classical, academic composers. The Net serves to exchange music software, audio files and know-how, people link up to make music though they are located all over the world, web pages turn amateurs into ad hoc musical interpreters - every household is a potential recording studio, every computer is a transmitting and receiving station with a global audience. The net_musician area examines the concept of listening to music in the public of the Net. The question is whether human-machine interaction, hypertext principles, intimacy within the scope of telematics and new social structures on the Net change our concept of music? Peter Traub's Bits & Pieces, which is a fully automatic composition software, scours the Net every day for audio files and constantly produces small musical images of the "Internet archive". DJ Spooky's animated Techno-Game AbsolutDJ demands not only musical skills from the player, but also composed combination talent. In Dumb Angel Klaus Gasteier transfers the hypertext principle of the WWW to the interactive composition process of the mysterious, never published Beach Boys' legacy "SMiLE". In the virtual studios of the public midi-pool of Res Rocket Surfer musicians with computers and keyboards link up for intercontinental jam sessions. Sergi Jordˆ's intuitive sound creation FMOL (F@ust Music Online), which was produced for La Fura Dels Baus' Faust 3.0, stores small musical pieces in a network database, which can be exchanged and developed by different generations. Finally, the links page hudba 3000 / summer 99 makes a tour through musical activity zones on the Net and gently encourages the visitor to participate bravely. The starting point is the summer 99 project by sha, which was organized in collaboration with the exhibition HD - High Density in Berlin.

Hans Peter Schwarz

Net Art In the Museum

Away with all the high-end animations, into the archives with the world of silicon graphics! Onyx machines are the dinosaurs of a long lost cyber world. This might be the guiding star for a new radical grouping of media artists on their way towards putting an end to the fascination with high technology of the 90s, when access to reality engines was an indispensable precondition for being a successful media artists. Under the label this movement constitutes itself as the first (?) avant-garde of the 21st century. As a discussion forum between the various groupings of media art, it attempts to find its own place within art history, in order to legitimize its attitude as a necessary basic approach of media art per se. refers, quite rightly so, to early video art, which although not successful in its aggressive attacks on the medium television, at least failed in a spectacular way. There are parallels. However, even the more radical representatives of net art, e.g. Dadaistic hackers or groups like JODI, are more interested in a somewhat playful dysfunctionalization of software with the nevertheless political implication that by doing so the social determination of network programs, plug-ins and browsers, the socially controlled access to the cyber-world might thus be put into question. In any case, there is a joint interest in content, e.g. in communication structures and the potential of the medium, and that in my view is the most important joint feature of early video art and present net art. There is another important point regarding the contribution of the media museum to net_condition. Despite all necessary attempts, which might well be interpreted as being legitimate, to break away from the operating system art, it is the museum, the exhibition where people who think differently and in new dimensions can realize their experiments in our society. Nevertheless, the location in the operating system art also has to be developed and mastered again and again. Therefore, I have works to present the contribution of the Media Museum to net_condition, which in their very own way do not leave the space of the museum, as at least intended by, but extend it. First of all there is The Tables Turned by Paul Sermon, in a way a dramatization of virtual space. It enables to test truly new ways of communication and behavior within the museum, thus continuing in a very special way the tradition of Communication Art initiated among others by Roy Ascott. Difference Engine #3 by Lynn Hershman together with the Global Interior Project by Masaki Fujihata and the early experiments by the Knowbotics Research Group, esoteric as they may have been, present the very first artistic mixed-reality installation. The Humbot Project by Pocock, Noll, Burckhardt, Cabot and Staehle is based on an updated interest in the research work undertaken by the universal genius Alexander von Humboldt. It uses his works for a very special instrumentalization of the network structures in the area of linguistic communication via the Internet. All three projects therefore test the limits of net_condition in their own way, not only in the virtual space of the Internet, but where it affects all of us particularly: in the border area between real and virtual worlds.

Jeffrey Shaw

radical software

The history of Net Art is a history of work both constituted and debilitated by the particularities of its momentary technological conditions. The singularity of this technology has nurtured idiosynchratic new modalities of intercommunication, driven by the felt need to make the evolution of this medium synchronous with the evolution of new cultural experiences and values. It seems that the Internet will certainly become the ubiquitous information space that connects everything with everything. This convergence will subsume all media within one generic technology that can then be configured to embody any bandwidth ranging from text chat on digital paper to immersive shared virtual environments in the home sensurround internet theater. The varying texture of these intercommunications will no longer be the consequence of technological limitations, but rather design choices driven by content contexts. At present this hyper-connectivity is still in the realm of prefabrication and simulation, intra-networked models that embody rich content and probe the viabilities of many possible paths of artistic action in the realm of distributed computing. The works produced at the ZKM Institute for Visual Media in this exhibition are of this nature - they are test beds offering prefigurations of the imminent modalities Net intercourse, where tentative intimacies can be experienced. Shane Cooper's Anchorman mines the news streams on the Internet and poetically reconfigures its texts which are spoken by a virtual newscaster. Ken Feingold's Seance Box Nr.1 is a oracular model stage for the proximate world stage interaction between our real, surrogate and virtual embodiments. Knowbotic Research's 10_dencies configures a networked communications medium which gives urtban planners a uniquely new ambiance of exchange and reflection. Masaki Fujihata's Impressing Velocity presents a paradigmatic exploration of the emergent modalities of tele-operation and tele-presence. Jeffrey Shaw's Distributed Legible City allows remotely located bicyclists to meet and converse in an artistically defined shared virtual environment. And Blast Theory's Desert Rain conjugates corporeal theater with networked virtuality to constitute an interactive polemic narrative experience. It is indicative of the new position of artistic research that these works were produced in the context of the principal European long term information society research program ESPRIT (i3 project) where the ZKM has worked in close association with major academic and industrial research centers in the UK, Sweden and Switzerland. The net condition is a circumstance, a contingency and a predicament. It has made our screens into lattices that hide and expose the terrains of newly formed intelligent information spaces. These shared environments of any and every level of embodiment are above all social spaces in which the artwork is no longer a mere accouterment, but can define the very structure and cosmology of those spaces and their inherent/emergent activities.

Benjamin Weil


Anmerkungen zum Blick auf die netz.geschichte Mit einer gehörigen Prise Humor kann ein Versuch unternommen werden, einen Blick auf die Geschichte der Online-Kunst zu werfen. Denn wie soll man Kategorien für die Beurteilung einer künstlerischen Praxis finden, die noch keine fünf Jahre alt ist? Die ersten künstlerischen Experimente im Netz dürften inzwischen ähnlich überholt wirken wie ein Film der Brüder Lumière, doch wie diese besitzen auch die digitalen Werke schon historische Bedeutung und haben nichts von ihrer Relevanz eingebüßt. Das hat damit zu tun, daß sie sich der im Entstehen begriffenen Netz-Kultur auf kritisch-distanzierte Weise nähern und zu Gedanken über die zahlreichen durch dieses Medium ausgelösten Veränderungen auffordern: den Wissenstransfer, die Konsumgewohnheiten, die Sorge, 'unternehmenseigene' Bürger zu werden. Auch untersuchen sie, wie traditionelle narrative Strukturen in Frage gestellt werden. Sie entwickeln eine Repräsentationsstrategie jenes Technoscapes, in dem wir uns zunehmend bewegen. Durch den bewußt einfachen Code erinnern diese Projekte daran, daß die Hypermedia-Struktur noch immer ihrer Erkundung harrt, statt, dem allgemeinen Trend folgend, zu einem senderartigen, kontrollierten Environment zu transformieren. Eine Auswahl von Websites anläßlich einer Museumspräsentation wirft zwangsläufig Fragen hinsichtlich der Integrität des Werkes auf: Die Veränderung der 'natürlichen' Sehbedingungen, das Vergrößern der Monitorproportionen und das Browsen als öffentlicher Vorgang schaffen ein neues Paradigma für das Erleben dessen, was ursprünglich für den Monitor und als 1:1-Verhältnis zwischen Projekt und Benutzer konzipiert war. Darüber hinaus wird indirekt ein Präzedenzfall für Museumsstrategien geschaffen, soweit die Integration dieser neuen Kunstform davon betroffen ist. Indem das Museum Werke, die es selbst für gute Kunst erachtet, konserviert, sammelt und präsentiert, begründet es eine Hierarchie und stellt Kategorien bereit, mittels derer sich das Werk in einem bestimmten Kontext verorten läßt. Eine recht schwierige Aufgabe, wenn es um vernetzte Medien geht! Bei der Produktion der Werke wird kaum Rücksicht auf ihre Konservierung genommen, und die Tatsache, daß die meisten Arbeiten mit derselben kommerziellen Soft- und Hardware produziert und rezipiert werden, hat ihre zunehmende Abhängigkeit von der sich ständig weiterentwickelnden Technologie zur Folge. wird durch dieselbe Technologie gefährdet, die ehemals von den net.artists als Alternative zu den von ihnen abgelehnten Distributionswegen der Kunst ins Auge gefaßt worden war. Sollte das Museum daher als Hüter dieser dezidiert profanen Werke fungieren? Sollten online tätige Künstler darüber nachdenken, wie sie ihr Projekt dem spezifischen Kontext der Institution entsprechend ðumfunktionalisierenÿ können? Diese Fragen müssen ebenso überdacht werden, wie die nach Sehbedingungen, Konservierungsbemühungen und Sammelstrategien, damit diese Kunst ohne Verzerrung ihrer ursprünglichen Konzeption integriert werden kann.

Augmented reality:



Link verso portali di augmented reality

Webliografia Weibel, Net_Condition