Post-Internet Latinx Art

Post-Digital, Post-Internet Art and Education, 2021

This chapter introduces the concepts of post-digital and post-internet by discussing the practices of the different technologies connected with the internet that are constantly changing, and the individuals, groups, and objects that practice with them. Post-digital and post-internet art and education is explored as a process that intervenes deeply in the world and self-relations, by changing subject configurations, identities, memory practices, social networks, ways and means of communication, as well as critical references to culture. This chapter also investigates art and education as a way of taking the present and future seriously, starting from the radically changed socio-technological conditions and its consequences.

Megarave - Metarave, 2014

Since the early 2000s, an increasing number of artists with a focus on desktop-based practices decided, where possible, to leave the technologies at home when they were invited to exhibitions. Software was converted into prints, videos, installations; performative media hacks were documented and presented in set-ups inspired by the ways in which conceptual and performance art manifest themselves in physical space; and the early adopters of the “post-internet” label, whose practice mainly consisted in appropriating and reframing internet content and playing with the defaults of desktop-based tools, naturally looked at video, print and installation as media to operate in physical space. This text has been commissioned for and first published in Megarave - Metarave, exhibition catalogue, Kunsthaus Langenthal / WallRiss Friburg 2014, pp. 37 - 46. Re-published in Domenico Quaranta, AFK, Link Editions, Brescia 2016, pp. 8 - 22

2009

Some contemporary artistic practices, such as internet art, are difficult to understand, partly because their originality and relevance is not perceived. In this contribution, we look at internet artists’ relations to society, and to their position in art history. This can elucidate a number of important characteristics of this contemporary form of art. First, it is interesting to see that the goal of early 20th century avant-garde (in particular Dadaism), nl. to bring together social life and art, is motivated early internet art. The role of technology (the computer, the internet, hacking) is very important in this, and also implied the possibility that avant-garde strategies reached a more widespread public. Second, we present the main points of so-called ‚relational aesthetics’, a contemporary theory of art that considers contemporary art practice in terms of interhuman relations and small-scale social networks. Third, we question the possibility of considering internet art as an...

Defining postinternet art and aesthetics.

Springer eBooks, 2021

The rise of photography, the moving image, film, and advertising arts at the turn of the twentieth century reinstated a long-standing division that had developed during the Enlightenment with its revival of Greco-Roman classicism between the seven liberal arts (grammar, dialectics, rhetoric, arithmetic, geometry, music theory, and astronomy) and the mechanical arts (architecture, painting, sculpture, and agriculture), the familiar division between cognition, knowledge (mind) and skill, craft (body). These popular media forms were positioned against fine arts, with design straddling both domains. Toward the third quarter of the twentieth century this aesthetic division was still maintained between the 'arts' and 'media arts' as, not only did 'mechanization take command' j. jagodzinski (B)

VIRTUALITIES AND REALITIES. New Experiences, Art and Ecologies in Immersive Environments, 2019

It makes sense to look back at the experience of net art in the 1990s. This was an era of innocence, eagerness and heroes of a kind, when net art works as art were brand new. In the 1990s, art had to be brought to the internet, settled there and only then was it possible to see how the environment influenced the content, whereas in the current post-digital and post-internet era, the internet environment is like nature: it surrounds us. The most significant names were Alexei Shulgin, Olia Lialina, Jodi.org, Vuc Ćosić, Graham Harwood and Heath Bunting, and the theoreticians were Tilman Baumgärtel, Josephine Bosma, Geert Lovink, Pit Schultz and others. How to characterize artistic trends in the context of the following terms: post-internet art, post-digital, post-media? I am drawing sketchy development curve from net art to post-internet art. The critical voices on net art were heard since its birth. In 1997 I interviewed Lev Manovich, Geert Lovink, Andreas Broeckmann and Alexei Shulgin, tentatively touching upon the emerging trend. I am discussing terms: post-media, the post-media condition, Mainstream Contemporary Art (MCA) and New Media Art (NMA). The last ones as they were proposed by Edward Shanken in an article in 2010.

This paper examines the role of Internet technology as an important factor in the creative processes of art making. The paper’s focus is on digital time, the physical life of internet art and the artist’s choices relating to that. By examining the physical life of internet art, the paper highlights the time-based element of internet art and how internet art essentially unfolds and evolves over time. This raises issues on how internet art is being both preserved and experienced online and how its aesthetic, conceptual and historical identity evolves alongside the technological medium. The paper continues with an examination of the artist’s decision making process relating to the artwork’s digital time conditions from a political point of view. By choosing its present online conditions, artists can manipulate the artwork’s past and future, gaining unprecedented control over the artwork itself. Specific examples of artists are being presented and discussed throughout the paper to provoke and support the paper’s concept of digital time in internet art, as a very important factor that allows us to rethink how art operates within our contemporary conditions.

Human Technology: An Interdisciplinary Journal on Humans in ICT Environments, 2007

Guest Editors' Introduction UNTITLED: EMERGING CULTURAL FORMS IN THE DIGITAL AGE The age of mechanical reproduction had profound effects on the creation, distribution, and perception of art and other cultural forms (Benjamin, 1992). As the age of digital reproduction progresses, change is becoming equally, if not more, radical. The speed and scale of technological development presents a series of complex challenges for research. This has become evident in human-computer interaction (HCI), a field of study that emerged from "man-machine studies" (Dix, Finlay, Abowd, & Beale, 1998). As well as acknowledging the existence of women, the new title reflected the shift from the mechanical to the digital age; but, in the last 5 years, there have been such major changes in the study of HCI that this title now seems dated. When computers were largely confined to the workplace, it was clear that interacting with them was a specialized activity that necessitated study. Computing technology is now a part of the way we cook, clean, work, communicate, and play; it is, as the title of this journal declares, a human technology. HCI as a title seems at once too narrow and too broad. It includes interaction with microwaves, dishwashers, and credit cards but also the creation of image, music, and text. Emerging technologies offer new possibilities for the creation and delivery of artworks, new modes of operation within artistic communities, alternatives to the traditional view of galleries, and new means of appreciating older cultural forms. Culture and creativity are, of course, inextricably tied to technological developments. The rock paintings of the Stone Age would not have been possible without tools, like charcoal, for

Art in the Age of the Internet, 2016

Speaking of the internet, the digital, the postdigital— and the convergences within the contexts of art and technology, and of new media—has become a drag.