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Internet -based art in an online venue, housed on the servers of the 'brick-and-mortar' art institution, the Walker Art Center in Minneapolis. Then curator Steve Dietz initiating this collection which remains accessible, an incredible archive of early net.art works.

Rhizome, one of the early media art organizations, continues to serve contemporary new media art communities and, importantly, to conserve and archive Internet based artworks. In this collection you'll find a variety of net.art and hypertext fiction projects from the first decade.

Here's a more extensive collection on Rhizome: http://rhizome.org/artbase/browse/archived/

Net.art collection intiated in 2002 at the Whitney Museum of American Art. Amongst the many artists works you'll find examples of net.art conservation, and questions as to the 'integrity' of the work that accompany such endeavors --- is the artwork compromised if you update the browser plug-ins?

I followed some links from the net.art year in review reading assigned, clicked around, and found this cool collection. Stolen fragments of famous pieces of art. Although the documentation was of course displayed and shared via web, what connects it to the topic of internet art seems to be the concept of fragments. That though having a piece of rock from a famous piece of art may not be much, when collected together these fragments form a commentary on something bigger, perhaps the absurd "value" Deshamps (for instance) objects are set at.

Nice, thanks. Fragmentation is a more tangible idea with which to understand technical aspects of the internet, like 'packet switching'. Related to the abstraction of fragments, there are resonant connections between Performance, Conceptual Art, the push towards 'ephemerality' in the 1960s and the ways in which those ideas resurface with new media and internet art in the 1990s. 10100101110101101.org making that connection explicitly. Please be sure to add the bibliographic citation at the end of your posts.

Through the Rhizome website, I found Net.artist, Cornelia Sollfrank. Sollfrank with the help of four other artists, created a program that would comb the internet for content and then assemble it into a sort of collage of text and images. This is the Net.art Generator. It seems to me that the project is a comment on the proliferation of net.art at the time and whether or not certain net.art could even be considered art. The piece also seems to question authorship and appropriation. There is also a link on the site to a video of the generator in an art show somewhere, being used. "A smart artist makes the machine do the work" Sollfrank, Cornelia. Rhizome.org, "The Net.art Generator." Last modified 2011. Accessed February 21, 2014. http://archive.rhizome.org/artbase/33601/. Hasty, Nick. Rhizome, "Rhizome." Last modified 01 17, 2011. Accessed February 21, 2014. http://rhizome.org/.

Described by new media artist Alexander Galloway as " simultaneously an introduction to and a retrospective of net art" this turn of the millenium collection of net.art was put together by ZKM, a German art, technology and culture institute dedicated to interdisciplinary and international collaborations.

Russian net artist, Olia Lialina, one of the trailblazers in this new medium,approached from background in film and theory. Her website, linked above, was also the first network based art gallery, causing much feedback (positive and negative) from offline / online artists. You'll find Lialina's net.art works from the 1990s below her bio and cv information.

Though the internet art we have been reading about is related directly to activism, I was trying to think of whether I can think of any modern internet art in any form. What came to mind first, at least in the main-stream(ish) realm is the fairly recent trend of google poetics. Basically the concept is that when you start typing a word or a phrase into google, it's suggestions will appear in a drop down menu. Often humorous, if looked at in the arena of poetry they can be awfully profound.

Thanks this was great example of internet based art in the age of Web 2.0,-- it echoes gestures by Cary Peppermint, Keith Obadike and is related via contemporary experimental writing, to Flarf, a sort of spam-based poetry

In this recent article, Ian Wallace explores the aesthetic of Post-Internet art. He examines the role of new websites, such as Tumblr, and discusses how this new era of art brings online elements into the real world and vice versa. There are a lot of post-internet artists mentioned in the article, along with links to other articles about them, which I found helpful in getting a better idea of the Post-Internet aesthetic. Wallace, Ian. "What Is Post-Internet Art? Understanding the Revolutionary New Art Movement." Artspace. http://www.artspace.com/magazine/interviews_features/post_internet_art (accessed April 17, 2014).

Net.art works by Russian artist Alexei Shulgin. Shulgin was quite active in the early years of Internet based art and culture, here, his website chock full of these early works which use and abuse the affordances of the medium at that time.

I began my search by seeing what type Media Arts collection the San Francisco Museum of Modern Art has. It appears SFMOMA has embraced Media arts and has procured and archived a site called "learning to love you more." The site was in operation from 2002-2009. The site issued "assignments" for participants to post on the site. Some of the subjects people were asked to post include, "take a picture of your parents kissing, "photograph a scar and write about it," and "interview someone who has experienced war." There are a total of 70 assignment subjects with a lot of submissions for each topic. "Learning To Love You More." Learning To Love You More. N.p., n.d. Web. 18 Feb. 2014.

Thanks this is great example of work bridging online / offline space, opening up a participatory platform. This one originated in Portland, I believe, coordinated by Harrell Fletcher and Miranda July

I selected a name I found interesting in the reading, Ben Benjamin. His website "superbad" launched in 1997 takes participants down a spiral of bazar, unrelated, flashing, digital art loops. Like the article "A History of Internet Art" mentioned, "beware that, seen out of their native HTML, out of their networked, social habitats, they are the net.art equivalents of animals in zoos." So I went to see what one of the mentioned artists work was all about. As the article mentions Ben Benjamin's work was featured in the Whitney Museum Biennial in 2000. Wikipedia also informed me he won a Webby award in 1999. "Superbad." Superbad. N.p., n.d. Web. 18 Feb. 2014.

Another noteworthy supporter of Internet based artworks is Turbulence. Here, in the archives, dated chronologically by year (96 - 04 for this assignment) an array of artists works commissioned by this wing of New Radio and Performing Arts, Inc, a project that started in 1981 to support artists' experiments with earlier forms of networked media.

As I read 'Web Work: A History of Internet Art' by Rachel Greene, I highlighted some of the websites mentioned to go back to and explore. One of these sites was jodi.org. On my first visit to the site, I just typed in Jodi.org in my Chrome browser, which I will warn you right now: DON'T DO IT! I was brought to a blank black page with no information except that my pop up blocker informed me that it blocked a pop up. Being the fool that I am, I changed the setting to allow pop ups from jodi.org, thinking that maybe the pop up was part of the net.art I would find on the page. Immediately a half dozen or so pop ups popped up and started moving around the page, as I tried to close out of the windows they became more and more erratic and finally I just quit Chrome to get out of there. Then I went to Jodi.org throughout the portal of the Wayback Machine. It seemed like another one of those: "rabbit-hole-look-there-are-so-many-fucking-links-all-over-that-move-and-change-colors-and-shit-aren't-we-so-disruptive-type-sites." that Clae was talking about. Then as I was writing this up, in order to give a better description of the site I went to outside of The Wayback Machine, I went back to Jodi.org and a different page came up! Each time I closed the window and went back to Jodi.org, I was directed to a new and different page. It still seems sketchy and I only visited a few more pages, but I thought it was interesting anyways. "Jodi.org." Accessed February 20, 2014. http://jodi.org.

Aha! JODI, of course! This happened to me too---I couldn't remember which net.artist it was. It's certainly one way of engaging a viewer. This reminds me of something that the writer William Burroughs once said in an interview "If I really knew how to write, I could write something that someone would read and it would kill them" ---- JODI's site doesn't seem so fatal in intention, but there is a strong sense of panic induced by their clever coding!

The Cantor Art Museum at Stanford is hosting a new exhibit that is the result of a body of work designed and implemented by a host of medical experts. James Chang MD is the chief of plastic and reconstructive surgery and has long had an affinity for observing the hand conditions he often treated in sculpture by Rodin. In this project, the bronze hands were scanned and the internal structures superimposed digitally, which are then viewed by a museum patron with a smart phone or pad via an augmented reality application. This is a lovely example of the collapse between disciplines - medicine and art - that advances in imaging technology allows.

In this glitch-art maker, you can create your own glitched reality using found images online. While I find the thought of glitches and breaks in internet reality terrifying, this, for a brief moment and almost countering the definition of glitch in it's production, puts the power to break that reality in your hands.

Here's info about this year's Wikipedia Art+Feminism edit-a-thon. Turns out that despite being the "encyclopedia edited by everyone" a shockingly low number of women have participated as editors on Wikipedia. Thinking about the gender bias evident in the 1980s Hackers documentary suggests a possible trend echoed online today. At any rate, this is tomorrow, Saturday 9-3 at PSU check it out!

Documentation of one of several "satellite art" projects that emerged in the late 1970s and early 80s. Artists taking advantage of residency opportunities with NASA to access various telecommunications networks! Here a project of Kit Galloway and Sherrie Rabinowitz, a platform for this duo's query "what can people separated by distance do together through technology?" --- this 'sculpture' is fascinating to me in the ways that it illustrates the allure of contact, the social practice of technology. Of course the novelty-spectacle of an activity that is now commonplace is also humorous! "Excerpts from a Hole-in-Space - the mother of all video chats" posted by Larry Press March 15, 2008. http://www.youtube.com/watch?v=QSMVtE1QjaU Accessed February 7, 2014

I stumbled upon Teo Spiller while looking through different examples of Web Art. Spiller worked with some interesting concepts, and questioned many of the social norms that occur in the digital world. One of the most interesting pieces in my opinion, is titled "Nice Page" and was created in 2000. It is a webpage, completely overtaken with bright text, and segmented images. While this piece might seem to be a page that showcases a multitude of webpages, displayed for an audience, as if flipping through the pages of the web, it is actually meant to critique the superficial attitudes what are associated with the web. The piece itself bombards the viewer with a lot of information, acting as a protest to the way we are constantly flooded with information. Spiller, Teo. "Nice Page" 2000 http://rhizome.org/artbase/artwork/2516/