Internet and the new website, meaning and consequences for Mamta B. Herland
Introduction
The information age is upon us, a paradigm, with consequences in comparison to the Industrial Revolution. As land and agriculture, the products were replaced by energy in the Industrial Revolution so the information seems to replace energy as the basis for economic life in post-industrial societies. The WWW depends on effective telecommunication networks are not available for a large part of the world, but it starts a rapid change when feeding. 1
2 The Internet is the media's fastest growing in the world today. It is seen as a communication revolution, and as space and time do people around the world interact and communicate to only one degree expected.
The Internet is about 35 years old. The pilot network was created in 1969 3, but the advantage to the public and the tremendous growth came with the introduction of the World Wide Web in 1994. In 1996 there were about 40 million Internet users and nearly 20 million of them had access to the WWW. 4. During the past ten years, almost all in the advanced nations are in government agencies Net, universities, artists, museums, small businesses, global conglomerates and private citizens.
Predecessors of digital installations today are first exhibited in the 1960s, as Michael A. Noll 5 Creation of some of the first computer-generated imagery, including Quadratic Gaussian (1963). The works of John Whitney, Charles and Vera Molnar Csuri continue still influential today for his investigations of changes generated by computer images through mathematical functions. In 1968, exposure "Cybernetic Serendipity" at the Institute of Contemporary Arts in London presented the work that anticipated many of the important features of the current average 6.
Digital technology has revolutionized the way to create art and experience. Not only have traditional forms of art such as printing, painting, photography and sculpture been transformed by digital techniques and media, but entirely new art forms such as net art, software art and installations digital have emerged. Some of the key issues raised by this development are viewer interaction, artificial life and telepresence with multiple identities and personalities. Matters relating to sales and collections, presentation and preservation of digital art are hotly debated.
Paul Valéry 7 predicted in his essay "The conquest of ubiquity" that the near future to see the receipt of further transmission works by electricity. If you do not know this was written in 1928, one could describe the contemporary telematic art.
By integrating written, oral and audio-visual communication human, its character changes dramatically, and our culture systems, beliefs, codes and action.
Although some of the concepts digital art for almost a century, an understanding of Internet art requires knowledge of age and living environment. 8
1. Internet Art
Digital 9 art developed in the 1960s on the basis of an alliance between art, technology and science, in a largely fostered collaboration between universities. 10 Nicholas Negroponte said the aim was to combine the visual capabilities of the film with computer processing. The Internet, WWW and digitization provided new conditions for artistic creation, circulation, distribution and perception. Those who master the new technology were enthusiastic, the it was not claimed that art "generated" by a team can not be defined as works of art.
Digital technology has given opportunities for artists synthesis of traditional art forms and has taken the art of collage to a level much higher than has ever been possible. An image can be completely transformed in many forms and re-mixed with interactive layers. Works can be copied without any decrease in quality. The digital media and traditional methods also often merge into new units 11. Fine arts, music, dance, animation, film, video and robotics can be synthesized for the first time, giving the artist the possibility to create art that includes all these elements. Art submitted on Internet Web sites have a potential world wide audience, and the works created by traditional methods presented side by side with reproductions of such works. 12 digital works can be presented either as a print or high resolution wall-mounted flat screen13, as 3-D works, video, animation or summary of the known art forms. For some artists and art institutions in this quickly, and seemingly uncontrollable part unregulated development is alarming, as it questions the role and values in art. The values of originality, authenticity and originality that have been cherished for hundreds of years, do not apply to digital art. However, the technology is here to stay and not go away, even if traditional art communities keep ignoring it.
The Internet has enabled the participation and collaboration among geographically dispersed individuals. Among the best known is Douglas Davis's World First sentence of collaboration (1994), where thousands of people have made contributions. Exploding Cell was created in 1996 by the artist Peter MOMA Halley, and generating / Mutation artists from around the world were invited to choose an image, you can download to your own computer, modify and return it. Artists in China and Europe are cooperating in the art for the people in London convened by Marketforce. 14 Exchange culturally is important not only as new possibilities for artists, but as a means to greater understanding between peoples and cultures.
The introduction of the telecommunications network, however, introduced an art totally different from anything experienced before. Roy Ascott Telematics has defined 15 as "computer mediated communications networking between geographically dispersed individuals and institutions … and between the human mind and artificial intelligence systems and perception. "telematics emphasizes the process of artistic creation and the systematic relationship between the artist and viewer16 network. The idea of art as a system capable of changing the behavior and consciousness is essential for Ascott. To do this, art should be interactive 17, allowing the audience to participate actively. Control over the content, context and time can be passed through interaction viewer, challenging the distinction between artist and viewer.
The Internet also provides a field of interaction between human and artificial intelligence. Telematic art therefore opposes the traditional notion of realism, providing or creating alternative forms of reality simulation, or "Hypereal. In the 1990s, Demetri Terzopoulos developed a bio-mechanical model of a fish software, and Karl Sims creates 3-dimentional images of forest plants and structures of high anspermia complexity P (1990). In 1994 Christian Sommerer and Laurent Mignonneau introduced A-Volve 18, A brilliant virtual habitat. Other artists-scientists as Thomas Ray and Jane Prophet (technosphere, 1995) also simulate the processes of life. Evolution, breeding and selection methods have become for the creation of works of art with "life worlds of image and viewers" play God "creating new" life ", manipulating playback system, control of the biotype simulated "kill" for the withdrawal of 'food' 19. Some virtual reality environments that fully immerse the audience into an alternate world have developed within a context of art. Osmose Canadian artist Charlotte Davies (1995) and Ice T (1998) are classic examples.
For participation and interaction of the viewer, the artist no longer has control over the outcome or even the survival of the work. Besides, it seems that art has become a testing ground for scientific theories. With Netlife Thomas Ray predicts that artificial intelligence will form in the Internet and be able to go anywhere in the world in milliseconds.
Body and identity are subject with a long tradition in art, even more so with the Internet. Online identity allows a simultaneous presence in different spaces and contexts, a constant "reproduction" of himself, no body. Subcultures is encouraged, with existing groups on the internet only group members are geographically far apart, possibly just known as avatars20. Vision Roy Ascott is "" a multiplicity of organs, and aspects of Gaia: digital pathways across the Earth (1989) combines the expertise no body of telematics and cyberspace, with the corporeal experience of concrete reality in the physical space.
Some philosophers, like Jean Baudrillard celebrate what they call the techno-body. 21 In his book How we became Posthuman, Katherine Hayles said: "Increasingly the question is not if we are to be posthuman, for posthumanity already here. So, the question is what kind of post-humans will be "22.
Since the introduction of art photography, realism has been much debated. Telematics adds a new dimension to this debate with artificial life, and multiple identities. Another dimension was added in September 2001. Wolfgang Staehle had a solo show at Postmasters Gallery in New York, where he presented three points of view in direct one through a web camera pointed to the center of Manhattan. The events of September 11 was carried live on the walls of the gallery and created an unexpected surprising context the concept of 'the last realism "in art.
2. Digital and Art Theory
Art digital did not develop in an art-historical vacuum, but has links to past artistic movements, including Dada, Fluxus and conceptual art. The importance of these movements for digital art lies in its emphasis on formal instruction and its focus on the concept, event and public participation, as opposed to unified material objects. The theory of the vanguard technology as a sequence of creation, adoption and settlements, was radically different from the traditional attitude. Net artists in the 1990s often combine avant-garde rejection of individuality and originality of the artist with the potential computer mediated communication to foster anonymity, parody, shared, multiple identities and inauthentic.
Jean Baudrillard23 "a theoretical computer screen, describes a hearing, which is missing, lost in the PC monitor, losing self-image and the prediction of the disappearance of reality. Baudrillard 's concept of "hyper-realism" means an experience of the contemporary world that is radically "not original".
24 Marshall McLuhan believes new technologies to improve democracy and human perception. By proclaiming "The medium is the message" 25 McLuhan understood that the content less important than the structures of media and forms of human consciousness in profound ways. 26 Roy Ascott believes the network is the infrastructure of a new consciousness human dynamics fueled by associative thinking. The viewer has the power as their levels of Internet interactivity of artistic authority. It can even be argued that participation Internet Mode announces a culture where everyone can be an "artist".
Digital technology and the Internet raise critical questions about the concepts originality and authenticity. But with the invention of the original picture was less relevant and challenged the idea of the uniqueness of a work of art. Walter Benjamin 27 for of the newer, more democratic art forms and examined the impact of mechanical reproduction, in the belief that contributed to human emancipation by promoting new modes of critical perception. The "aura" of works of art was related to his special power of religious cults and the situation unique in time and space. The concept of time and space has changed radically with the World Wide Web, a work of art that can be played anywhere and at any when high quality. One can argue that we are at the threshold of real democratization of art.
The project life_ share 28 (2001) by Duo challenged the idea that information and intellectual property could be controlled. When it became public property and published on the Web, the project became in infinitely reproducible.
3. Art Market
The art market is not limited to selling products of art, but actively helped to define what is considered art and everything that is "important" art, and therefore alters our perception of art 29. sales and the price of art to attract more attention the public than most other commodities, and when Charles Saatchi bought a piece of art that is announced widely30. If someone like him to start collecting art Internet, the perceived value of digital art will change too.
Internet Galleries
One of the best-known consequences of the WWW is the growth of Web-based galleries, dealers or galleries are available online or virtual exists only on the Web. 31 The Internet has opened a global market for artists, and Paul Wynter, art in London, says: "The site has 10,000 images from 900 artists and sells 20 to 30 works a month at an average price £ 750 – £ 800 … …. Between four and five thousand people visit each day. A gallery in Cork Street does not have that. " 32 London Art has only 35% of Commission, instead of the usual 50%, because the business is not as expensive. In March 2004 World recorders had 112,000 page views, 33 which reflects an exhibition interesting for the artists represented in virtual galleries. Most Web galleries, however, have art made by traditional methods and Internet galleries are not all at the forefront of promoting and selling of digital art.
An artist with a personal website to promote their own art can meet potential customers directly, without going through the shopping malls or other intermediaries, and many find it fascinating to be free of any interference. However, it requires knowledge technological background and a strong effort to attract potential customers to a web site34. As always, the artist must give priority to creating art or sell it.
Art as a digital
The art market is based on the property and scarcity, with some artists and international stars. Unique Originals, Editions limited and exhibitions in prestigious galleries are important when art is basically an investment. These lead to higher pricing of selective traditional art. But art scanned and digitized traditional art, not only can be perfectly multiplied, but also be offered "to incognito "- Artist unknown or anonymous. Digital art and ideology of the Internet can therefore be seen as an anti-commodity with questionable authenticity and origin undetermined.
Commercial galleries are trying to convince potential customers the chance to win money based on the model of the "scarcity" especially for wealthy clients. From the point of view of investment is understandable that the market for digital art and Internet use has been limited. Fingerprints, however, were sold in limited editions or as art, and the software or "art of programming" has been authorized and acquired35. Digital art can be accessible to ordinary people buying works of art for art.
4. Democracy, Copyright and commercialism
We live in the "Age of Access" 36, and more and more questions are: Who has access to communication channels and how they can control this access?
Questions about copyright and ownership of a threat to free and democratic ideology of the Internet, since in reality the questions of our capitalist economic system. A "piracy" war being waged by the music industry, new laws on copyright and digital promulgated37 large global companies are marketing aggressively38 Internet. These forces affect the creativity of artists. Many argue that digital copyright is one of the most valuable concepts in the new millennium. Corbis already controls 76 million digitized images39 and has spent more than $ 100 million to buy the rights to reproduce images from the Louvre, the Hermitage, National Gallery London and the Art Institute of Detroit. Along with Getty Images Inc.40 now are buying digital rights to almost all the images you may have a market value. On the basis of globalization and the market power of the conglomerate, Joost Smiers 41, proposed the total abolition of copyright, arguing that investors, not artists, are the main beneficiaries.
World cultural conglomerates, with little doubt, the strength of the Internet in its economic system and the existing values. Without a code open software, the future of the Internet as a communication channel is free and open debate. New ways of managing content and access have been developed. Asian countries and are trying to introduce censorship.
The major content providers are Americans, and we could face the Americanization and homogenization of globalization instead of art, as evidenced in the music and film industry.
When buying a work of art is only a click and a credit card away, and with massive advertising by the major international actors to influence local buyers to buy internationally "known" names such as an "investment", the survival of the local art market and the local artist is at risk. Walter Benjamin, after all not be so impressed by the Web as a democratic space for art.
5. Arts institutions
The creation of art, able to operate within of tradition, seems to have found it difficult to recognize digital art projects as being. Museums, curators, educators and gallery owners all have to learn new skills, both with respect to technology and responsiveness. The traditional way to present, evaluate and conserve the art changes based digital art.
Museums
Digital art made its official entrance into the art world only in the 1990s, when museums and galleries began to incorporate more and more such art forms in their performances and is entirely dedicated to art exhibitions it.42 major international events such as Documenta, the Whitney Biennial and the Venice Biennale have shown the art of internet and large institutions like the Guggenheim, SFMOMA, the Walker Art Center and the ICC have become Internet-based digital art. 43
The Museums can store written information about art objects, along with digital images, video, sound and oral presentations, with enhanced capabilities to present versions of a work of art as it evolves to a finished state, multiply and intensify the experience of visitors.
The digital medium, however, poses a number of challenges in collecting and conservation. The commissioners have to make new functions, the commissioner of information and the preservation of art changes according to the unstable technology with an audience interactive art not intended to last. A growing number of international exhibitions and events SIGGRAPH art as virtual trust curatorship.44 Internet Many also argue that art should only be in electronic form as it pertains to the Internet context, and should not be taken in "the model of the white cube" of museums.
Educators
Art schools face a challenge by the fact that new generations of students use computers and the Internet as an everyday tool, with the Web as the obvious place to gather information, such as technology gap between generations is to enlarge.
Most universities use the Internet to present to prospective students and teaching professionals. Projects research and publication with interactive discussions with other professionals and students are increasingly common. In 1980, Roy Ascott organized an international team artists at the conference, "Terminal Art, and later founded the Center for Advanced Study in Interactive Arts Research (IACR). In 1995 CAiiA became the first line of the doctoral program with emphasis on interactive art, and in 1997/98 was set CAiiA-STAR (now Planetary Collegium) as a global network for advanced research in art and technology. 45
Conclusion
Digital technology, the Internet and the World Wide Web represents a total paradigm shift comparable to the Industrial Revolution, and the artists can now change the world radically, content, context and form, but with limited control over the fate of works of art. "
Artistic creation, practice and production have revolutionized the possibilities for the synthesis of art created with traditional methods and with the sound and audio visual art forms.
Internet and World Wide Web collaboration between artists and geographically dispersed audience in an artistic practice. Viewers are invited to participate interactively, even to the point of "playing God 'with art, using telecommunications and artificial life techniques.
Even if accepted and collected by prestigious museums, art Digital has not yet been adopted by private collectors. Internet art contradicts the current market model because it has no physical original is infinitely reproducible, and may have indeterminate authenticity and ownership. Thus, digital art is endangered as an investment.
The Internet has had an ideology and tradition as an open, free and democratic communication channel with a global audience. However, international conglomerates have been marketed on the Internet the application of capitalist values and question the future of art and the artist.
About the Author
Mamta Baruah Herland is an Indian born Norwegian Artist who has studied Visual Arts at Sydney College of the Arts and later had her Masters degree at WSA, university of Southampton in UK. She has been incorporating digital tools for a decade to create her artworks as well as integrating computer graphics in her paintings. She works with both physical and digital material, playing on the contrast between the two as well.
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