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net art

net art is a specific art form, which operates with the genuine nature of the Internet. It has evolved to coincide with the emergence of the Internet. Tilman Baumgartel define net art as art, which only work with the Internet and can exist only on the Internet (see Baumgartel 1999: 6). The Internet is for net art is not just a transport medium and presentation area, but its properties be focused on the artistic production.

Baumgärtel identified six specific characteristics of the Internet, which makes the power of art to own (see Baumgartel 1999). This includes the so-called connectivity, which says that exchange and communication possible via the Internet to such an extent as this may make no other medium. This also raises the idea of modern art that art works that result from a collective out a higher level of creativity and aesthetics are awarded, such as that of a single genius' artist produced. Global nature of Internet art is characterized by the fact that these wherever Internet is available - in theory all over the world - can be received and produced. With multimedia nature of Internet art is meant that the Internet can integrate different media types. The interactivity of the Net art is characterized by the fact that users do not just passively rezipieren content, but to participate actively in the production of art (can). In the net art, highlights the difference between recipient and artists to a large extent. The artist status is automatically leveled or - shown exaggerated - just negated. In addition, net artists remain anonymous and often deliberately cryptic often use pseudonyms such as 'Jodi' oder ‚0100101110101101.org’. Dies ist unter dem egalitären Charakter der Netzkunst zu fassen. Kontrovers diskutiert wird die letzte spezifische Funktion der Netzkunst: Immaterialität. Für diese spricht, a) dass mit immateriellen Informationen – Bits und Bytes – gearbeitet wird, b) dass die User digital und körperlos agieren, und c) dass das Internet quasi als raumloser Raum ohne geographischen Bezug betrachtet werden kann. Dagegen steht die Argumentation, dass Bits und Bytes zwar Symbole und Zeichen darstellen, aber durch das Betriebssystem, HTML-Codes und Titel- und Scrollleisten auf Materielles referieren bzw. sich dadurch vergegenständlichen. Zudem sei ihre die Rezeption durch weitere materielle Faktoren wie Internetanschluss, Speed Internet connection and depends on socio-economic parameters of the user such as education and age. (See Huber 1998)

be within the power of art to describe two different trends, being more analytical they can be separated. In fact, overlap in the following aspects very often. For one, these are the works that are focused on aesthetic issues and exploit the opportunities of the Internet and its structure play. This form is technology-centered than the following. Second, there are works that use the Internet to practice social criticism and the critical (information) society reflect. This seems so out into social, political and economic dimensions.

examples of net art as an aesthetic product:
Jodi, Olia Lialina, Milton Manetas, Angelo Plessas

examples of net art as a reflection on society:
Etoy, übermorgen.com, The Yes Men Group

Sources:

Baumgartel, Tilmann (1999): net.art. Materials for net art. Nuremberg: Verlag für moderne Kunst.

Huber, Dieter (1998): materiality and immateriality of the net art. In: Danelzik-Brüggemann, Christoph / Dorgerloh, Annette / Schoch Joswig, Brigitte Scholz-Hansel, Michael (ed.): Net art, critical reports. Magazine for art and cultural studies. Born 26 No.1 Marburg, 39-53.