NMS2014

"When I was learning how to write in grade school, I noticed that all my teachers wrote with near-identical handwriting on the chalkboard...I realized that we were being taught to write in a specific font." The statement here is from series by contemporary artist Jesse England. This is not net.art, but an interesting variant on "remediation," or a perverse post-digital gesture pointing to non-obvious connections between new and old modes of communication design. England, Jesse. "Learn to write in Different Fonts: Jesse England" Accessed February 14, 2014. http://jesseengland.net/index.php?/project/learn-to-write-in-different-fonts/

This 5 minute edit of a digital ethnographic study by Michael Wesch is an excellent visual introduction to particular techno-social affordances and constraints of the Internet, echoing some ideas from lecture about hypertext and is useful to understanding the broader technical behind-the-scenes through the first decade of internet--- a helpful supplement to thinking about net.art and other forms of production online "The Machine is Us/ing Us (Final Version)" Youtube video, 4:34. Posted by Michael Wesch, March 8, 2007. http://www.youtube.com/watch?v=NLlGopyXT_g

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/

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.

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?

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.

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.

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.

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.

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.

As mentioned throughout the interview with Ricardo Dominguez, the Electronic Disturbance Theater is a group of cyber activists who use electronic civil disobedience to non-violently take action against political powers. On this site, a part of thing.net, there are brief descriptions of the Electronic Disturbance Theater and electronic civil disobedience. There is also information surrounding the EDT's influences, beliefs and methods of electronic civil disobedience. Many of the brief descriptions are accompanied with links to larger, more in-depth articles as well. Wray, Stefan. thing.net, "The Electronic Disturbance Theater and Electronic Civil Disobedience." Accessed February 12, 2014. http://www.thing.net/~rdom/ecd/EDTECD.html.

Thanks, this is an excellent supplement to the interview, lots of context for related ideas from broader situation behind the Zapatistas struggle and 'etmological' roots of the ECD concept

This article by Richard Joyce gives a more in-depth look at the Zapatistas and how they have created the new movement of Internet activism as means to take action against political powers. It touches upon some of the positive and negative aspects of their methods, along with a brief history and several examples of the ways they have used the Internet to take action. Joyce's critical analysis of the Zapatista movement allows for a new perspective that differs from that of the Electronic Disturbance Theater. Joyce, Richard. Bowdoin, "Zapatista Solidarity Online: A Case Study of Internet Activism." Accessed February 12, 2014. http://learn.bowdoin.edu/courses/soc022-richard-joyce/2010/04/zapatista-solidarity-online-a-case-study-of-internet-activism/.

"The GNU Project is not limited to the core operating system. We aim to provide a whole spectrum of software, whatever many users want to have. This includes application software. See the Free Software Directory for a catalogue of free software application programs."

In Open Source as Culture/ Culture as Open Source, the operating systems Linux and GNU. GNU was developed by Richard Stallman in 1983 as an open source operating system which could be developed by many different people working towards the freedom of software. The GNU project was necessary when most software was proprietary in the 1980's. The GNU web page has a great detailed history of the development of GNU from its beginning to how it is being used now Stallman, Richard. GNU Project, Accessed February 12, 2014.

This animated video by designer Melih Bilgil provides a concise, relatively easy to understand motion graphic animation about the Internet's infrastructure. Key technological inventions are detailed with a series of highly legible icons that Bilgil developed while studying Communication Design. Faced with inherently technical and sometimes challenging descriptions of various networking protocols and systems, this narrated visualization is an effective supplement to the histories relayed in the Cybernetic Counterculture texts. Melih Bilgil. "History of the Internet" Vimeo posted 2009. https://vimeo.com/2696386 Accessed February 11, 2014

https://www.youtube.com/watch?v=T2GRAVpbDds Somewhat related

cnn.com Current site * Lots of bells and whistles. * Starts with a large take-over ad/video * 10+ video links on page * Shows a list of trends * You can scroll down the page revealing more content * Many brief story teasers of 1 to 2 sentences. * 10+ads and sponsors * Uses the word "Home" for initial page 2001 site * No ads * Only one photo, small size * Entire page fits on one screen * Far fewer links * All hyperlinks are underlined * No sound * Uses the word "Main Page" for initial page Same on each site * Area for search * Large lead story

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

While short, this article by Tim Worstall sheds light on the ever-present possibility of censorship in a closed corporate ecosystem of products and cites the example of Drones+, an app designed to provide up-to-date information on drone strikes, and the reasons for which it has repeatedly been banned from appearing on the App Store. This calls to mind several of the ideas present in the Half-Inch Revolution concering the dangers of a system predicated on the delivery of content overseen by a single source. Worstall, Tim. "The Problem With Apple's Closed Apps Universe." Forbes. http://www.forbes.com/sites/timworstall/2012/08/31/the-problem-with-apples-closed-apps-universe/ (accessed February 7, 2014).

A resonant example from everyday media life. There was a somewhat similar disruption a few years ago with an iPhone game app premised on revealing the external costs of iPhone production and disposal. A bit more bald in its critique, it too was rejected.

Radical Software was created in the 1970s by Beryle Korot, Phyllis Gershuny, and Ira Shneider to create a network of video sharing. This site has PDF files of the Eleven issues published and distributed by Radical software between the years 1970 and 1974. The website also provides the history of The Raindance Corporation which was created in 1969 by a radical media activist and artist by the name of Frank Gillette. The general Idea behind Raindance Corporation was to created a collection of works and ideas for "implementing communication tools in the project for social change." The website also discusses in detail the intent of Radical Software and fight towards creating a world of free and accessible information.

thanks, this is an excellent example of primary source document, the actual artifact providing visual detail of its historical context that escapes easy translation. This site is equipped with a well organized search and browse function, too!

As mentioned in Siva Vaidhyanathan's reading portion "Open Source as Culture/ Culture as Open Source", computer scientist Richard Stallman began developing the pursuit of the Free Software Foundation. During the 1970s and 1980s, Stallman was working for MIT, he "set out to establish" this foundation that would help "prove that good tools and technologies could emerge from a community of concerned creators" (26). The link I provided is for the "about" section on the Free Software Foundation's current website. I thought this might help provide more insight about the program and offer information regarding their goals and work to keep the public free and in charge of their own computer monitoring. Free Software Foundation, Inc., "Free Software Foundation: About." Last modified 2014. Accessed February 5, 2014. https://www.fsf.org/about/.

Thanks for building out a link to this site, there's a lot of rich connections that continue to be relevant, perhaps more recognizably today with copyright concerns surrounding audio and visual media.