How Much Space of Exchange is there on the Internet in Relation to Contemporary Art?

2011 ◽  
pp. 179-188
Keyword(s):  
Contemporary Art ◽  
The Internet

scholarly journals Immersive Environments, VR, AR in Ukrainian Contemporary Art of The Recent Years

2021 ◽  
pp. 23-40
Author(s):  
Oksana Chepelyk
Keyword(s):  
Contemporary Art ◽  
Mixed Reality ◽  
Book Publishing ◽  
Physical Space ◽  
Field Research ◽  
The Internet ◽  
Immersive Environments ◽  
Art Objects ◽  
Time Space ◽  
Immersive Environment

The article is devoted to the scientific problem of theoretical elaboration and contextualization of immersive environment realized in the physical space of a gallery or museum, in VR and on the new virtual platforms on the Internet, as well as in hybrid space, in the augmented and mixed reality of the 21st century. The aim of the research is to identify the peculiarities of the formation of the immersive environment and of the practices of VR and AR projects creation in Ukrainian contemporary art in recent years. The task is to elaborate the theoretical bases of the development of immersive environments and VR, review and analysis of projects that use the digital technologies in order to create an immersion and AR. The methodology of the study consists in theoretical and field research of immersivity and in the author’s experiments development. The main method is a comprehensive and systematic approach to the development of the theory of virtuality, visual and photometric methods, analysis of concepts, spatial structure and technological features of online VR platforms and artistic realizations. The concept of sensorium is involved, which describes the feeling, perception and interpretation of information about the world around. The peculiarities of creating immersive environments in physical space in the projects «MetaPhysical Time-Space», «Refraction of Reality», «Living Energy» were explored (to be included into the national art discourse), as well as in VR in the frame of VR-festivals, such, as Carbon Media Art Festival, «Frontier» and «Virtuality» that serve as a testing ground for the development of new technological art. The possibilities of new online VR platforms, such as Mozilla Hubs, WebXR, AltspaceVR, artspaces.kunstmatrix, Cryptovoxels, Transmadatac Virtual Museum, are analyzed. The practice of creating VR projects on platforms on the Internet: Artefact Chornobyl 33 and Artefact Chornobyl + MADATAC, «VR Collider» and «Genesis» are considered as case study. Drift from immersive environments in physical space to virtual reality has been detected. The multi-vector nature of AR projects and different types of connection with book publishing, public art objects, contemporary sculpture and urban practice have been revealed.

scholarly journals Love Jihad in Contemporary Art in Norway

Religions ◽  
2021 ◽  
Vol 12 (12) ◽  
pp. 1106
Author(s):  
Ragnhild Johnsrud Zorgati
Keyword(s):  
Popular Culture ◽  
Public Sphere ◽  
Media Studies ◽  
Contemporary Art ◽  
The Internet ◽  
Far Right ◽  
Works Of Art ◽  
Cultural Boundaries

This article explores the concept of ‘love jihad’ and the love jihad discourse in a Scandinavian setting, with a particular emphasis on contemporary works of art and popular culture in Norway. Arguing that ‘love jihad’ may be understood as part of a larger cluster of meaning related to fear of love across religious and cultural boundaries, and of losing ‘our women’ to ‘foreign men’, the article demonstrates that the love-jihad discourse and its related tropes exist in the Norwegian public sphere. It is directly articulated in far-right blogs and Facebook groups and indirectly present in the works of art and popular culture that this article explores. Indeed, read intertextually and in light of recent research in sociology and media studies about Islamophobia and anti-Muslim rhetoric on the Internet, works such as Disgraced, Heisann Montebello, SAS plus/SAS pussy, and Norskish demonstrate—through challenging, mocking or discussing the love-jihad discourse—that ‘love jihad’ has echoes in contemporary Norway.

Fluidity

2017 ◽  
Author(s):  
Tim Rutherford-Johnson
Keyword(s):  
Contemporary Art ◽  
Digital Technology ◽  
The Internet

The Internet and digital technology have given rise not only to new genres of music, but also new ways of using and thinking about musical material and form. Using as a guide Nicolas Bourriaud’s writings on contemporary art–especially The Radicant–this chapter considers how digitization has affected compositional aesthetics from the transcriptions of Peter Ablinger and translations of Olga Neuwirth, to disembodiment in the music of Stefan Prins and the journey forms of Jennifer Walshe.

Experiments in Cyber-Liminality

2017 ◽  
Author(s):  
Michael F. Leruth
Keyword(s):  
Contemporary Art ◽  
Experimental Research ◽  
Electronic Media ◽  
The Body ◽  
The Internet ◽  
Google Glass ◽  
Broadcast Media ◽  
The World ◽  
The Media ◽  
French Intellectuals

Chapter 3 considers Forest’s internet-based art from the mid-1990s through the present, with particular emphasis on ritualistic and festive manifestations of public liminality that take place online or make the internet an integral part of the event, and on more whimsical exercises in parody and the détournement of interfaces reminiscent of his early experiments with print and broadcast media. Works discussed in Chapter 3 includeFrom Casablanca to Locarno: Love Updated by the Internet and Electronic Media (1995),Time-Out (1998), The Techno-Wedding (1999), The Center of the World (1999), Territorial Outings (2001), Meat: The Territory of the Body and the Networked Body (2002), Memory Pictures (2005), The Experimental Research Center of the Territory (2008), The Traders’ Ball (2010), Ego Cyberstar and the Problem of Identity (2010), Ebb and Flow: The Internet Cave (2011), and Sociological Walk with Google Glass (2014). Chapter 3 also explains Forest’s unique position in the acrimonious “Quarrel of Contemporary Art” (Querelle de l’art contemporain) that raged among French intellectuals and in the media in the 1990s and early 2000s and highlights his contributions to France’s annual Internet Festival, which he helped create.

scholarly journals The Forgotten Women: Investigating the Absence of the Female Artist from Traditionally Male-Centric Southeast Asian Contemporary Art Historical Narratives

2021 ◽  
Author(s):  
Vasanth Narayanan ◽  
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Southeast Asian ◽  
Historical Narratives ◽  
The Internet ◽  
The Public

Until recently, Southeast Asian contemporary art’s historical narratives overlooked the influence of female artists. This underrepresentation of female artists is not unique to Asia, nor is it exclusive to contemporary art. Curators’ decisions and other factors may have contributed to the trend in part. However, within the realm of modern art, possibilities have lately developed that may expose the public to the work of more female artists. These include curating shows exclusively for female artists and prominently showcasing the work of female artists on the Internet.

Ökonomien der sozialen Medien – Bildpolitik und Gemeinschaftsbildung in den digitalen Netzwerken der Gegenwartskunst

2018 ◽  
Vol 81 (4) ◽  
pp. 575-587
Author(s):  
Antje Krause-Wahl
Keyword(s):  
Contemporary Art ◽  
The Internet ◽  
Central Question ◽  
Artistic Practice ◽  
Art And Politics ◽  
Digital Communities ◽  
Central Concern ◽  
Internet Art ◽  
The Relationship ◽  
Visual Cultures

Abstract Following debates on participation and the relationship between art and politics as a central question of contemporary art, this essay discusses networked communities in the visual cultures of ‘Post-Internet Art’. For DIS and Juliana Huxtable digital communities are both the topic of their installations and pictures and part of their artistic activities within the internet: the blog DIS Magazine and the tumblr blog Blue Lip Black Witch-Cunt. In comparing their artistic practice with network-like communication in magazines of the 1970s, the essay argues that it is not a central concern of post-internet art how network images may subvert the economy of images in the net. Rather this kind of art demonstrates the effects of networks, in which participation causes singularity instead of community.

One multiplicity

2021 ◽  
pp. 112-126
Author(s):  
Pasha Ian Clothier
Keyword(s):  
Contemporary Art ◽  
Laser Light ◽  
Space Time ◽  
Interconnected Systems ◽  
The Internet ◽  
The People

Against an interdisciplinary and intercultural background, this chapter discusses notions of time and sound as they apply to contemporary art projects. Concepts from science, engineering, post-structuralism, and Polynesian philosophy are referenced. A range of artworks are then reviewed in terms of how notions of interconnected systems, time, and audio might map across to creative projects. Eduardo Kac’s Genesis is an exemplar of interconnected systems; Space Time by Karl Heinz Jeron made time discrepancies audible; River Resonations is a GPS and audio project by Trudy Lane; The River Speaks by a collaborative of ten artists utilized live river data, the internet, and audio; and Ko Tātou Te Tangata (We are the people) by Kura Puke, Stuart Foster, and Te Matahiapo deployed sound-carrying laser light. Taken together, all of the creative projects make visible and audible changed concepts of time and sound that characterize awareness in the current era.

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