Relevant bibliographies by topics / Net art

Academic literature on the topic 'Net art'

Author: Grafiati
Published: 4 June 2021
Last updated: 22 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Net art.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Net art"

1

Fourmentraux, Jean-Paul. "Net art." Communications 88, no. 1 (2011): 113. http://dx.doi.org/10.3917/commu.088.0113.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Fourmentraux, Jean-Paul. "Le Net art." Médium 6, no. 1 (2006): 48. http://dx.doi.org/10.3917/mediu.006.0048.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Ferrari, Roberto C. "Art on the Net." Journal of Library Administration 30, no. 1-2 (December 5, 2000): 39–62. http://dx.doi.org/10.1300/j111v30n01_05.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Fourmentraux, Jean-Paul. "Les dispositifs du Net art." Techniques & culture, no. 48-49 (December 12, 2007): 269–302. http://dx.doi.org/10.4000/tc.2872.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Vassileva, Biliana. "Au-delà du Net Art." Ligeia N°181-184, no. 2 (2020): 155. http://dx.doi.org/10.3917/lige.181.0155.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Lafargue, Bernard. "Les sosies du Net Art." Ligeia N°181-184, no. 2 (2020): 166. http://dx.doi.org/10.3917/lige.181.0166.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Andrews, Jim. "Site: Net Art at turbulence.org." American Book Review 27, no. 4 (2006): 19–35. http://dx.doi.org/10.1353/abr.2006.0148.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Chen, Yu, and Clemence Bondu. "High Art Down Net: Art Museums on Social Media." International Journal of the Inclusive Museum 16, no. 1 (2023): 31–52. http://dx.doi.org/10.18848/1835-2014/cgp/v16i01/31-52.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Monteiro, Ilda. "Art." Convergences - Journal of Research and Arts Education 14, no. 27 (May 31, 2021): 143–55. http://dx.doi.org/10.53681/c1514225187514391s.27.60.

Full text
Abstract:
O presente estudo de natureza teórica visa sobretudo questionar a Internet Art, tendo em conta as hipóteses, estratégias e caraterísticas da expressão artística face ao meio de atuação. Este trabalho pretende demonstrar a correlação entre arte e tecnologia, com destaque a Internet, como meio e espaço de criação artística através da internet art ou net art. A internet art resulta de uma rede de comunicação global e tecnológica, sendo apresentada enquanto meio de criação artística de obras virtuais, interativas e ilusórias. A partir deste enquadramento, são apresentadas e analisadas as características deste meio de comunicação, exemplificado através de várias obras da net art, a forma como os artistas apropriam estas mesmas características nos seus trabalhos, destacando a relação entre meio e prática artística. A arte de internet é, por sua vez, apresentada através de um estudo, cujas características estão direcionadas a tipologias e temáticas no contexto do desenvolvimento de novas possibilidades para a obra, para o artista e para o público. A relação entre a internet, enquanto meio de comunicação tecnológica, e a arte de internet, enquanto expressão artística contemporânea é compreendida através da análise da produção com base nas características que definem a rede. Procura-se, desta forma, destacar a importância da net art no seio da arte contemporânea, promovendo uma nova perspetiva para a compreensão da internet enquanto meio e espaço de criação artística.
APA, Harvard, Vancouver, ISO, and other styles
10

Fourmentraux, Jean-Paul. "Net Art et contre-culture numérique." Ligeia N°181-184, no. 2 (2020): 74. http://dx.doi.org/10.3917/lige.181.0074.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Net art"

1

Fourmentraux, Jean-Paul. "L'oeuvre en actes : sociologie du Net art." Toulouse 2, 2003. http://www.theses.fr/2003TOU20011.

Full text
Abstract:
Si la sociologie de l'art s'est longtemps attachée aux conditions du "négoce" autour de l'oeuvre - en isolant les étapes de sa production, de sa diffusion et de sa réception - elle s'est moins intéressée, en revanche, aux formes d'investissements "actanciels" dans et par l'oeuvre d'art. En prenant pour objet "l'oeuvre en actes", la présente recherche propose au contraire, dans le contexte de l'Internet, une analyse pragmatique des modalités de la "mise en oeuvre" du Net art. Selon une approche socialisée et appareillée des oeuvres - qui montre l'articulation concrète de leurs dimensions techniques, esthétiques et sociales - elle vise ainsi à éclairer les incidences liées à l'usage des nouvelles technologies informatiques sur les modes de désignation et de connaissance de l'oeuvre en art. En inscrivant le regard sociologique au coeur du triptyque d'action que déploie désormais le travail créatif - aux différents moments de la Conception, Disposition et Exposition de l'oeuvre - l'étude reste attentive aux différentes formes de commerce et d'accommodement entre les différents partenaires - acteurs et techniques - qui concourent à la mise en oeuvre d'art
If the sociology of art stuck a long time to the conditions of the "trade" around the Artwork - by isolating the stages from its production, its diffusion and its reception - yet, it was less interested in the "actanciels" forms of investments in and by the work of art. By taking for object "artwork in acts", the present research proposes on the contrary, in the context of the Internet, a pragmatic analysis of the Net art "implementation" methods. According to a socialized and technical approach of the works - which shows the concrete articulation of their technical, aesthetic and social dimensions, - it informs the incidences linked to the use of new data-processing technologies on the modes of designation and knowledge of the artwork. By registering the sociological glance in the heart of the triptych of action which deploys on creative work - at the various moments of the Design, Disposition and Exposure of artwork - the study remains attentive with the various compromise of trade between the various partners - actors and techniques - which contribute to implement the work of art
APA, Harvard, Vancouver, ISO, and other styles
2

LAMBERT, PATRICIA MOREIRA. "MIRA SCHENDEL: THE WORK OF ART S NET." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=32155@1.

Full text
Abstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A artista suíça-brasileira Mira Schendel (Zurique, 1919 – São Paulo, 1988) chegou ao Brasil no pós-guerra, em 1949, e aqui começou a pintar. Embora mantivesse vínculos inegáveis com os demais movimentos artísticos da segunda metade do século XX, Mira criou uma linguagem plástica própria e produziu uma estética entre que não permite ser reduzida a nenhum dos ismos de seu tempo. O objetivo da tese Mira Schendel. A rede da obra é investigar as escolhas formais e as preocupações expressivas de Mira a partir de um conjunto representativo de trabalhos, buscando apreender a singularidade das questões artísticas e plásticas implícitas nessas obras particulares. Desde a realização das 2000 Monotipias, entre 1964-66, sua pesquisa ramifica-se em séries que se desenvolvem a partir do desdobramento de algumas questões matriciais: o transparente e o opaco, a potencialização do vazio, a corporeidade do mundo, as ambiguidades do signo, o tempo. Artista prolixa, destacava-se pelo experimentalismo espontâneo. Sempre pesquisando os processos da forma, utilizou materiais inusitados que estabeleciam entre si relações bastante singulares e criou uma quantidade assombrosa de trabalhos que declaram a falência da hierarquia entre pintura, desenho, escultura ou instalação. Recortou, furou, amassou e, literalmente, amarrou os seus suportes. Desenhava com a unha, no avesso do papel. Esses gestos inesperados acabaram por explodir, em definitivo, a representação ilusionista e produziram um pensamento novo, incrivelmente livre, sobre a pintura e o espaço pictórico.
Swiss-brazilian artist Mira Schendel (Zurich 1919 - São Paulo 1988) arrived in Brazil after the war, in 1949, and here she began to paint. Although she maintained undeniable connexions with the other artistic movements of the second half of the twentieth century, Mira created a language of her own and produced an aesthetic of the in between, which cannot be reduced to any of the isms of her time. The purpose of the dissertation Mira Schendel: the work of art s net is to investigate Mira s formal choices and expressive concerns as from a representative set of her works, seeking to apprehend the singularity of the artistic and plastic issues implicit in these particular works. Since the 2000 Monotypes, made between 1964-66, her research has been based on series that develop from the unfolding of some matrix issues: the transparent and the opaque, the potentialization of the void, the corporeality of the world, the ambiguities of the sign, time. A prolix artist, she stood out because of her spontaneous experimentalism. Always researching the processes of form, she used unusual materials that established very singular connections; she created an astonishing amount of works that declare the failure of the hierarchy between painting, drawing, sculpture or installation. She cut, punched, kneaded, and literally tied up her supports. She drew with her fingernail on the back of the paper. These unexpected gestures definitely invalidated the illusionist representation and produced a new way of thinking, incredibly free, about painting and pictorial space.
APA, Harvard, Vancouver, ISO, and other styles
3

Clunn, Rebecca. "The Global Performance Art Network: How the Net Works." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366836.

Full text
Abstract:
As a performance artist, I have experienced a strong synergy connecting performance artists, the work they make, the network they create and inhabit, and the trust that binds them together. I wanted to discover how that network operated. Therefore, this doctoral research project focuses on the question, “What is the operation of the global performance art network? ” Network theory forms the overarching theoretical framework, with the additional concepts of trust, community, social capital, and performance art playing a key part in the analysis. With no known research into the global performance art network to date, the research will contribute to theory development and practical perspectives in relation to performance art. In addressing the research question, I acknowledge my personal ontology and self-interest in the subject matter. This duality of researcher / participant has allowed for a conscious ethnographic approach to this research. I have adopted a pragmatist paradigm in approaching this research question, which encourages a mixed methods strategy, combining quantitative and qualitative research methods, allowing for triangulation of data.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith Business School
Griffith Business School
Full Text
APA, Harvard, Vancouver, ISO, and other styles
4

Laforet, Anne. "La conservation du Net art au musée : les stratégies à l'oeuvre." Avignon, 2009. http://www.theses.fr/2009AVIG1070.

Full text
Abstract:
La conservation du net art nécessite de construire une approche spécifique pour le regarder qui prend en compte la dimension matérielle de l'œuvre. La conservation ne se préoccupe pas uniquement d'esthétique, ni de l'expérience du public, mais a besoin de connaître l'aspect matériel des œuvres pour que le processus de conservation ait lieu. La thèse présente un panorama de la création par et pour Internet. Elle décrit des œuvres choisies pour leur exemplarité concernant leurs problèmes de conservation. Elle présente une vue d'ensemble des institutions qui, en Europe et en Amérique du Nord, ont mis en place des stratégies de conservation spécifiques. Ce dernier point a pris la forme d'analyses de cas à partir d'une grille issue d'observations, de lectures et d'entretiens. Cette étude traite aussi des relations entre la conservation et les autres fonctions du musée, notamment de leur interdépendance tout au long du cycle de vie de l'œuvre. Chaque œuvre implique un traitement qui lui soit propre. Cela pose la notion de la notation, la façon de décrire l'œuvre afin de la reproduire, et ce même lorsque son environnement technologique sera obsolète. Les manières de pallier cette obsolescence sont donc explorées : émulation, migration, partition, ré-interprétation, auto-archivage, archivage automatique, qui peuvent être combinées. L'approche matérielle du net art se traduit par une interrogation de ses différents niveaux de lecture : au niveau du code qui compose l'œuvre, des fichiers, de ce qui se passe à l'écran, de l'interaction entre l'œuvre et l'internaute. Les notions de performativité du code et d'activation sont utiles dans cette réflexion. Les acteurs du marché de l'art et les historiens et critiques d'art participent autant que le musée à l'attribution de la valeur des œuvres, et donc à la conservation, et ils s'influencent les uns les autres. Tous ces éléments permettent de composer une cartographie pluridisciplinaire de la question de la thèse
The preservation of net art requires the construction of a specific approach to look at internet artwork, one that takes into account its material dimension. It is central as preservation does not only deal with aesthetics, nor the way the audience experiences artworks. This research presents an overview of works created by and for the Internet. The choice of the artworks is dictated by preservation issues only. It is also an overview of the institutions (based in Europe and in North America) that have developped specific preservation strategies. It consists in case analysises, which stem from observations, readings, and interviews. This thesis looks into the interaction between preservation and the other functions of the museum (collection, exhibition, research). Preservation cannot be tackled independantly, because it deals with the artwork's life cycle within the museum. Every artwork has to be treated in its own way. The issue of notation also arises, as it's necessary to find ways to describe artworks, especially as their technological environments will eventually be obsolete. This research explores the ways to compensate for obsolescence : emulation, migration, score, re-interpretation, self-archiving, automatic archiving, etc (which can be also combined). The attention to net art work as a material socio-technical object means to find a way to look at those works : the code which composes the artwork, its different files and the way they are organized, what happens on the screen, the interactions between the artwork and the audience. The notions of code performativity and activation are thus useful. Preservation makes sense only when value is attributed to what is preserved. Two categories of actors outside the museum take part in this process : the art market and art critics and historians. Both influence and get influenced by the museum. All these elements allow the composition of a pluridisciplinar cartography on the topic of net art preservation
APA, Harvard, Vancouver, ISO, and other styles
5

Montt, Steffens Carolina. "Especificidad del net art en medio de la estetización cultural." Tesis, Universidad de Chile, 2014. http://www.repositorio.uchile.cl/handle/2250/116826.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Mayer, Sébastien. "L'oeuvre de net art: Stratégies d'intéressement pour un enrôlement du public." Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27777.

Full text
Abstract:
Avec les premières avant-gardes et l'art contemporain du XX e siècle, nous avons vu proliférer les artistes et les mouvements artistiques qui ont critiqué les circuits traditionnels de l'art en redéfinissant les notions d'objet d'art et de public. L'oeuvre d'art n'est aujourd'hui plus nécessairement un objet fini, sacralisé et exposé dans un musée ou une galerie, elle peut être un évènement auquel le public actif peut participer, qui s'actualise grâce à ses actions, ses interprétations et ses contributions. Le Net art est l'un de ces nouveaux types de production artistique qui a émergé avec l'arrivée du Web dans la deuxième moitié des années 1990 et qui est spécifiquement conçu pour le réseau Internet. Interactive, collective et en construction perpetuelle, l'oeuvre de Net art est le fruit d'une collaboration des membres d'un "réseau d'actants humains et non humains" qui travaillent de concert à sa constante actualisation. Le public est mis au centre de l'oeuvre par un artiste qui devient le spectateur de cette oeuvre en mouvement. Dans cette recherche, nous avons souhaité identifier les stratégies d'intéressement mises en oeuvre par les artistes du Net art pour permettre "un enrôlement" du public à l'oeuvre. Plus simplement, nous avons voulu voir comment les artistes parviennent à faire participer le public à l'oeuvre en train de se faire. La question qui guide la recherche est la suivante: Quelles sont les stratégies mises en oeuvre par les artistes du Net art pour permettre un enrôlement du public? Au niveau théorique, nous prenons appui sur la théorie de l'acteur-réseau de Latour et Callon en la faisant migrer vers le terrain empirique qu'est l'étude de l'oeuvre en acte. Ce modèle d'analyse nous permet de concevoir la constitution d'une collectivité, notamment en suivant la formation de controverses, ou les membres deviennent co-auteurs de l'oeuvre grâce à la mise en place de dispositifs d'intéressement. Les travaux de Fourmentraux nous ont servi de point de départ pour esquisser une typologie des stratégies d'interessement, notamment en termes de communication rituelle et d'adressage personnalisé. Nous mobilisons aussi la théorie des actes de langage d'Austin, Searle et Kerbrat-Orecchioni pour analyser les énoncés identifiés sur les pages des sites des oeuvres de Net art et pour montrer comment l'artiste instaure une relation interpersonnelle avec chacun des membres du public pour les intéresser et, éventuellement, les enrôler dans la construction d'une oeuvre d'art sur Internet. Nous nous intéressons enfin à la dimension ludique de l'oeuvre de Net art en montrant comment l'action des internautes sur les mécanismes ludiques intégrés dans l'oeuvre nous permet d'effectuer un rapprochement entre le jeu video et l'oeuvre de Net art au plan des stratégies vidéoludiques. Au niveau méthodologique, la démarche de recherche mise en oeuvre est de type qualitatif. Plus spécifiquement, pour répondre à la question de recherche proposée, nous avons procédé à une étude de cas multiples réalisée selon une approche ethnographique, à savoir les sites Web Mouchette.org de l'artiste Mouchette, le Générateur Poïéetique d'Olivier Auber et Je suis ton ami(e)...tu peux me dire tes secrets de Nicolas Frespech. Nous avons effectué l'analyse de l'environnement d'interaction et l'analyse des documents disponibles sur les sites des oeuvres, investi les espaces d'interaction synchrones et asynchrones des sites par l'observation participante et mené des entrevues semi-dirigées auprès des trois artistes dont les oeuvres sont à l'étude. Les résultats de cette recherche nous révèlent que les Net artistes déploient un éventail de stratégies visant à intéresser les internautes pour les enrôler dans la construction de l'oeuvre: stratégies discursives, stratégies de fidélisation et stratégies vidéoludiques. Ces stratégies ne fonctionnent pas indépendamment les unes des autres, mais s'inscrivent plutôt dans une stratégie globale d'intéressement ou la prise de rôle par les actants du réseau, la dimension performative du langage, la fidélisation du public, le caractère rituel de la communication et le jeu jouent un rôle crucial dans l'actualisation et la pérennisation de l'oeuvre de Net art. Mots-clefs. Net art, stratégies d'intéressement, méthode qualitative, ethnographie, étude de cas multiple, Net artistes.
APA, Harvard, Vancouver, ISO, and other styles
7

Guglielmucci, Chiara <1987&gt. "Art on the net : analisi delle opportunità offerte da Internet all'artista contemporaneo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/2018.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Greenan, Althea. "Feminist Net-work : digitization and performances of the Women's Art Library slide collection." Thesis, University of Brighton, 2018. https://research.brighton.ac.uk/en/studentTheses/6a0cfad7-569b-4ab6-badf-d22b934128e6.

Full text
Abstract:
The Women’s Art Library (WAL) slide collection embodies a singular culturally important feminist achievement that began with artists collecting their slides of artwork to form a public resource in the 1970s. Today it is the historical core of the WAL, a heavily consulted resource in the Special Collections of the Library at Goldsmiths, University of London. However, 35mm slides have become a challenging material to use and as in other art archives, the slides are seen as less useful and potentially replaceable by a digital image collection. This practice-based research explored the production of digital records from slides in order to expand on how digitization can capture a wide range of data from the slide, its production, and labelling. Beginning with a digital photography project ‘walking’ through sections of the WAL slide collection, I reproduced slides experimentally through print, video and 3D objects to discover the performativity of the slides in different analogue and digital environments of public exchange. These diverse visualizations work with the whole slide object and draw attention to the artist-inscribed mount that frames the film transparency depicting artwork. The research thus reveals the important material of the artists’ slide collection that is excluded from the final images representing digitized slide collections created using standard scanning procedures. This methodology reactivates the artists’ slides from the stasis of archive to recall their primary function as distributable images and reconsiders how the slides currently represent the artists who made them. This follows a detailed review of how slide collections and cultural heritage materials are digitized to support international studio, critical and historical art scholarship and engage with digital network culture. Recovering the slide mount and the women artists’ inscriptions is shown to endow the WAL slide collection with a cultural importance that is independent of what the slides’ images represent. The artists’ slides collectively produce a distinct syntax that expresses the complexity and individuality of individual artists’ practices in the context of and transformed by the feminist project. The research reframes the legacy of the WAL slide collection from its images to its performativity, showing how the slides are communicative tools for women artists’ participation in a political project raising the visibility of all women’s art. This re-presents the WAL slide collection as a performative site of ongoing feminist intervention and participation in culture unbound by fixed standards of value set by the dominant canon, digital or otherwise.
APA, Harvard, Vancouver, ISO, and other styles
9

Marshall, Laura Delano. "The jeweled net, sacred landscape, and the vision of the heart." Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3722634.

Full text
Abstract:

For centuries Western sensibilities have been governed by an assumption that imagination is an exclusively human faculty, independent of the phenomenal world. This dissertation explores a view, long elaborated in mythologies and artistic traditions of pre-modern cultures, that phenomenal reality is the template of imagination, that terrestrial and celestial elemental forces are continuous with the mind, and that meaning in artistic practice is derived from a reciprocal exchange with the world in which we live.

This dissertation revives a traditional view of the heart as the seat of a continuous circulation of mind, imagination, and the world. In endeavoring to recover the eclipsed intelligence of the heart, this study argues that both the thought and perception of the heart are primarily metaphorical, which necessarily makes them essential in humanity’s unceasing exchange with the greater community of beings.

This dissertation demonstrates that imagination and artistic practice are inseparable from the environment, and that a study of pre-modern artistic traditions broadens an ecological understanding of the web of relationships between living beings and the environment that sustains them. Three traditions of painting disclose varying human orientations within the world: Navajo sandpainting, Chinese landscape painting, and Western European painting since the fourteenth century. Navajo sandpaintings are made at times when disorder and sickness prevail in order to restore balance in the relationship between the human community and primordial forces embodied in the landscape. Chinese landscape painting is a visual contemplation of the interwoven place of humanity within the perpetual change and transformation of heaven, earth, and sentient beings. Western painters in the fourteenth century departed from pre-modern approaches to painting when linear perspective was introduced as a way to fix a perception of the phenomenal world that was primarily optical, rather than visionary. The perception promoted by this method, based on an orientation that is both dualistic and literal, eventually ran its course, giving way to the introduction of more interactive approaches to artistic practice and perception by twenty-first century artists.

APA, Harvard, Vancouver, ISO, and other styles
10

Boillot, Nicolas. "Les implications du remix dans la création plastique à l'ère de la dématérialisation numérique." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20064/document.

Full text
Abstract:
Cette thèse porte sur l’implication du remix dans la création plastique à l’ère de la dématérialisation numérique. Beaucoup d’éléments comme la technicité du médium, la malléabilité des contenus, la banalisation de la transgression du droit d’auteur ou la mise à disposition sans précédent de matériaux, impactent directement la création. Tout ceci donne lieu à de multiples stratégies de création par, pour, avec ou hors Internet. Les œuvres sont ouvertes, processuelles, interactives. L’art numérique est foisonnant et le remix y occupe une place de choix. C’est donc dans la longue histoire du remix artistique et dans celle inédite de la création numérique que j’ai choisi d’inscrire une recherche création. Artiste depuis plus de dix ans, j’ai eu à articuler une « recherche > création » (« sur l’art » et sur mes œuvres passées) et une « création > recherche » (sur mes œuvres en train de se faire). Lors de la « recherche > création », l’hypothèse de la filiation de mon travail avec le remix numérique m’a conduit à saisir, d’un point de vue théorique, les termes de la rencontre fructueuse du remix avec l’art numérique, puis à faire une analyse de sept de mes œuvres passées. Elle a souligné la portée critique et la diversité de mes remix et de leurs dominantes : la mise en jeu du droit d’auteur ; le rapport au temps et à l’interactivité ; la critique de l’abondance informationnelle ; et la collection, intention et principe de création. Cette « recherche > création » n’a pris tout son sens qu’avec la création de trois nouvelles œuvres lors de la « création > recherche ». La poursuite de mon hypothèse m’a invité à mettre en jeu la définition couramment admise du remix réflexif, notamment sa portée référentielle. Mes dernières œuvres sont nées de cette rupture et d’une intention non plus critique, mais expérimentale. Elles m’ont permis de distinguer un « remix distancié » qui va plus loin que le remix réflexif dans le sens d’une complète dissolution de l’original qui lui a donné vie
The focus in this thesis is on the implications of remix in the art field within the digital dematerialisation era. Many elements like the technicality of the medium, the malleability of the contents, the banalisation of copyright infringement or the unprecedented availability of materials impact creation directly. All this has given birth to multiple creation strategies by, for, with or out of the Internet. Artworks are open, processual, interactive. Digital art is a flourishing movement and remix occupies a key place within. It is thus in the long history of artistic remix and the new emerging history of digital creation that I chose to enrol in a research creation. As an artist for more than ten years, I have had to articulate a ‘research > creation’ (‘on art’ and my past artworks) and a ‘creation > research’ (on my artworks in progress). During the period of ‘research > creation’, the assumption of the filiation of my work to digital remix led me to examine, from a theoretical point of view, the terms of the fruitful encounter between remix and digital art and then to apply the analysis to seven of my previous artworks. This brought to light the critical range and the diversity of my own remix and their dominance: the liability of the copyright; the relationship to time and interactivity; the criticism of informational abundance; and the collection as an intention and a principle of creation. This ‘research > creation’ has been ‘rendered real’ with the creation of three new artworks during the ‘creation > research’. The exploration of my hypothesis led me to jeopardise the generally accepted definition of reflexive remix, in particular its referential range. My latest artworks were born from this disruption and of an intention which was no longer critical, but experimental. These artworks enabled me to distinguish a ‘outpaced remix’ which goes beyond reflexive remix in the direction of a complete dissolution of the original from which each one derived
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Net art"

1

Vicuña, Cecilia. Cloud-net. New York, N.Y: Art in General, Inc., 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Nettitudes: Let's talk net art. Rotterdam: Nai Publishers, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Allyson, Grey, ed. Net of being. Rochester, Vermont: Inner Traditions, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Del video-arte al net-art. Santiago de Chile: LOM Ediciones, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Chan, Daniel Yan Kwong. The possibilities of art on net. London: LCP, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Fractal net singing: Fernando Garbellotto. Cinisello Balsamo (Milano): Silvana, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Rudolf, Frieling, and Daniels Dieter, eds. Medien Kunst Netz 1: Medienkunst im Überblick = Media Art Net 1 : survey of media art. Wien: Springer, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Grosenick, Uta, ed. New Media Art. Cologne, Germany: Taschen, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Asher, Gaia. The dark art of C# programming: .Net Core language. Victoria, B.C: Trafford, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

The art of unit testing: With examples in .NET. Greenwich, CT: Manning, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Net art"

1

Blankenship, Jerrel, Matthew Bussa, and Scott Millett. "The Art of Agile Development." In Pro Agile .NET Development with Scrum, 1–11. Berkeley, CA: Apress, 2011. http://dx.doi.org/10.1007/978-1-4302-3534-7_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Quaranta, Domenico. "CHAPTER 22. From Context to Content: On the Preservation of Net-based Art." In Science and Art, 452–76. Cambridge: Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781788016384-00452.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

O'Sullivan, James, and Dene Grigar. "The Origins of Electronic Literature as Net/Web Art." In The SAGE Handbook of Web History, 428–40. 1 Oliver’s Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2019. http://dx.doi.org/10.4135/9781526470546.n29.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Reestorff, Camilla M. "From Artwork to Net-Work: Affective Effects of Political Art." In Affective Methodologies, 201–21. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9781137483195_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Gacovski, Zoran M., Georgi M. Dimirovski, and Stojce Deskovski. "Fuzzy-Petri Net Reasoning System and Transfering of Knowledge to the Markov Chain." In The State of the Art in Computational Intelligence, 104–13. Heidelberg: Physica-Verlag HD, 2000. http://dx.doi.org/10.1007/978-3-7908-1844-4_19.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Adburgham, Alison. "Neo Art Nouveau." In View of Fashion, 247–48. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003361398-94.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Glausch, Andreas, and Wolfgang Reisig. "How Expressive Are Petri Net Schemata?" In Petri Nets and Other Models of Concurrency - ICATPN 2006, 201–20. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11767589_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Blondin, Michael, Filip Mazowiecki, and Philip Offtermatt. "Verifying Generalised and Structural Soundness of Workflow Nets via Relaxations." In Computer Aided Verification, 468–89. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13188-2_23.

Full text
Abstract:
Abstract Workflow nets are a well-established mathematical formalism for the analysis of business processes arising from either modeling tools or process mining. The central decision problems for workflow nets are k-soundness, generalised soundness and structural soundness. Most existing tools focus on k-soundness. In this work, we propose novel scalable semi-procedures for generalised and structural soundness. This is achieved via integral and continuous Petri net reachability relaxations. We show that our approach is competitive against state-of-the-art tools.
APA, Harvard, Vancouver, ISO, and other styles
9

Soucek, Brian. "Personifying Art." In New Waves in Aesthetics, 224–43. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230227453_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Ryan, Michael. "Neo-Political Art After Post-Modernism." In Politics and Culture, 98–110. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-07033-6_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Net art"

1

Singh, Maharaj, and Franz Fishnaller. "Tracking the net." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312535.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Aude, Crispel. "Net-art, entre conflit et sensibilité de l'interface." In the 18th international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1132736.1132763.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Tsjornaja, Anne, Jonathan Weinel, and Martyn Broadhead. "Art(NET)work: Visualising interconnected artwork data in VR." In Proceedings of EVA London 2022. BCS Learning & Development, 2022. http://dx.doi.org/10.14236/ewic/eva2022.47.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Goel, Prakhar, Mihir Goyal, and Rajiv Ratn Shah. "Arten-Net: An Emotion Classification System for Art (Student Consortium)." In 2020 IEEE Sixth International Conference on Multimedia Big Data (BigMM). IEEE, 2020. http://dx.doi.org/10.1109/bigmm50055.2020.00053.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Benedict, Dale K. "Net Shape Differential Gears - An “Art to Part” Success Story." In 1996 SAE International Truck and Bus Meeting and Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1996. http://dx.doi.org/10.4271/962161.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Arantes, Priscila. "Estética da Interface: net art, redes sociais e cultura contemporânea." In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483671.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Wang, Chaoshun. "Notice of Retraction: Effects of Net-Media on Art Design Education." In 2010 2nd International Workshop on Education Technology and Computer Science (ETCS). IEEE, 2010. http://dx.doi.org/10.1109/etcs.2010.531.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Ghiraldelli Da Silva, Rafael, and EDSON DO PRADO PFUTZENREUTER. "#lovegoals: estudo de possibilidades de convergência entre narrativas digitais e net art." In XXV Congresso de Iniciação Cientifica da Unicamp. Campinas - SP, Brazil: Galoa, 2017. http://dx.doi.org/10.19146/pibic-2017-77985.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Wang, Jhing-Fa, Hsien-Chang Wang, Kin-Nan Lee, and Chieh-Yi Huang. "Domain-unconstrained language understanding based on CKIP-auto tag, how-net, and ART." In 6th International Conference on Spoken Language Processing (ICSLP 2000). ISCA: ISCA, 2000. http://dx.doi.org/10.21437/icslp.2000-576.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Benitez, Miguel Lopez. "Smart spectrum awareness in future wireless communications: State-of-the-art, open challenges and the way forward." In 2017 2nd International Conference on Telecommunication and Networks (TEL-NET). IEEE, 2017. http://dx.doi.org/10.1109/tel-net.2017.8343281.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Net art"

1

Cetinić, Ivona, and Inia Soto Ramos, eds. EXPORTS Measurements and Protocols for the NE Pacific Campaign. NASA STI Program and Woods Hole Oceanographic Institution, January 2022. http://dx.doi.org/10.1575/1912/27968.

Full text
Abstract:
EXport Processes in the Ocean from Remote Sensing (EXPORTS) is a large-scale NASA-led and NSF co-funded field campaign that will provide critical information for quantifying the export and fate of upper ocean net primary production (NPP) using satellite information and state of the art technology.
APA, Harvard, Vancouver, ISO, and other styles
2

Galenson, David. One Hit Wonders: Why Some of the Most Important Works of Modern Art are Not by Important Artists. Cambridge, MA: National Bureau of Economic Research, November 2004. http://dx.doi.org/10.3386/w10885.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Chilcoat, Richard A. Strategic Art: The New Discipline for 21st Century Leaders. Fort Belvoir, VA: Defense Technical Information Center, October 1995. http://dx.doi.org/10.21236/ada301857.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Garthwaite, Craig, John Graves, Tal Gross, Zeynal Karaca, Victoria Marone, and Matthew Notowidigdo. All Medicaid Expansions Are Not Created Equal: The Geography and Targeting of the Affordable Care Act. Cambridge, MA: National Bureau of Economic Research, September 2019. http://dx.doi.org/10.3386/w26289.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Mugnier, Daniel, and Alexandre Mopty. State of the art of new generation commercially available products. Edited by Daniel Mugnier. IEA SHC Task 53, November 2017. http://dx.doi.org/10.18777/ieashc-task53-2017-0001.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Nelson, D. E. PUREX new substation ATR. Office of Scientific and Technical Information (OSTI), May 1997. http://dx.doi.org/10.2172/362456.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Wright, Brad, Peter C. Damiano, and Suzanne E. Bentler. Ready or Not? The Affordable Care Act and Safety-Net Primary Care Clinic Capacity in Iowa. Iowa City, Iowa: University of Iowa Public Policy Center, November 2014. http://dx.doi.org/10.17077/0s9c-6e74.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Levy, Vicki. Volunteer Leaders Are Not Born, They Are Developed. AARP Research, July 2019. http://dx.doi.org/10.26419/res.00265.003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Huitema, C., J. Postel, and S. Crocker. Not All RFCs are Standards. RFC Editor, April 1995. http://dx.doi.org/10.17487/rfc1796.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Papatyi, T., and P. Haugen. AIT-NEO Quarterly Report Q1FY21. Office of Scientific and Technical Information (OSTI), January 2021. http://dx.doi.org/10.2172/1756725.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Net art' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography