Internet Art Research Articles

Between the Archive and the Feed

This article discusses feminist performance and internet art practices of the 21st century through the lens of Boris Groys’s theory of innovation. It analyses works by Signe Pierce, Molly Soda, and Maya Man, to position practices of self-documentation online in exchange with feminist art histories of performance and electronic media. The text proposes that the discussed contemporary art practices fulfil the process of innovation detailed by Groys through a process of re-valuation of values via an exchange between the everyday, trivial, and heterogenous realm of social media (‘the profane’) and the valorised realm of cultural memory (‘the archive’). Using digital ethnography and contextual analysis, framed by the theory of innovation, the text introduced ‘content value’ as a feature of contemporary art on the Internet. The article demonstrates how feminist internet art practices expand on cultural value through the realisation of a process of innovation via an intra-cultural exchange between the feed and the institution.

Milestone of corporate internet reporting around the word

This research aims to provide a foundation and overview of research in the field of CIR. This research provides a literature review of CIR research, especially the development and state of the art of CIR research over the past four decades. This research method uses systematic analysis based on bibliometric analysis. This research examines databases in Proquest and selected manuals of the last four decades. The results show that there is still an interesting debate regarding the determinants of CIR disclosure in each country. In addition, it illustrates how researchers in each country conducted the last four decades of CIR research. Therefore, the results of this study provide guidance and a literature review on future research—especially the impact of regulations and standards in each in the voluntary disclosure of CIR. In addition, corporate reporting regulators in each country can review the CIR disclosure policy, which is still voluntary. There has been no research that has created the state of the art of corporate internet reporting.

The Art of Online Bodies: Surveillance, Identity, and Collective Narratives

This paper delves into the production of body images in internet art and its interplay with consumer society. Through an analysis of various works related to 'online bodies', the study uncovers the mechanisms of self-exposure and surveillance embedded within these images. These artworks illustrate not only how individuals portray themselves online but also how collective narratives emerge. Furthermore, the paper scrutinizes the role of body images within technological and cultural algorithms, shedding light on their significance in contemporary society.

Sound Art of Internet of Things Explore: Sound Sensors in the Fusion of Painting and Music

INTRODUCTION: The combination of sound art and Internet of Things (IoT) technology offers new possibilities for artistic creation. With the rapid development of the Internet of Things (IoT), sound sensors have become a powerful tool for capturing environmental sounds. This study aims to explore the application of suitable sensors in the fusion of painting and music by utilizing IoT technology to create more prosperous and interactive artworks for artists. OBJECTIVES: The study's primary purpose is to explore the potential uses of sound sensors in art creation, especially in integrating painting and music. By deeply analyzing the interaction between sound and visual art, the researchers aim to discover new creative possibilities, thus expanding the boundaries of artistic creation. METHODS: The study utilized a comprehensive methodology that included a literature review, field research, and artistic practice. First, the literature on sound art, IoT, and art fusion was extensively reviewed to provide a theoretical foundation for the study. Second, through field research, the researchers collected practical examples of sound sensors applied in the field of art. Finally, through hands-on art creation in the artist's studio, the researchers verified the potential applications of suitable sensors in the fusion of painting and music. RESULTS: The study found that sound sensors have many applications in painting-music fusion. By embedding suitable sensors into painting tools and music devices, artists can capture the sounds of their surroundings and transform them into visual and auditory artistic expressions. Examples from practice demonstrate how this technological innovation can bring a richer, more sensual experience to artistic creation while engaging the audience in interactive participation. CONCLUSION: The results of this study show that the combination of sound sensors and IoT technology offers new possibilities for artistic creation. By integrating proper elements in painting and music, artists can create more profound and engaging works. This innovation expands the boundaries of art and provides the audience with a more intimate and interactive experience with the artwork. In the future, further research can delve into the application of sound sensors in other artistic fields, thus promoting the integration of art and technology to move forward.

Collaborating for Sustainable Access to Digital Art: A Project Overview

ABSTRACT This paper addresses the preservation approach chosen for a selected group of born-digital artworks connected to the web, here categorized under the term internet art. The three first cases that are part of the project Infrastructuur Duurzame Toegankelijkheid Digitale Kunst (Collaborative Infrastructure for Sustainable Access to Digital Art) researched by LIMA (a platform for media art based in Amsterdam) focused on how to analyse internet artworks. This case study-based research was conducted in collaboration with 16 collecting institutions based in The Netherlands. The growing number of internet artworks in collections has pushed the development of preservation initiatives that consider these works’ fleeting nature, a consequence of their technical build and time-sensitive characteristics. The project aims to produce and share knowledge for these artworks’ preservation and overall sustainability while making it available for other similar works. This paper addresses the research steps while assessing its rationale and utility. It starts by describing the case study and assesses how the methodology serves conservation standards. The paper documents an overall evaluation of methods and results, pointing out the applicability and practical relevance of this initiative, here evaluated with positive conclusions. This paper fits the project’s mission concerning knowledge sharing and raising awareness for the preservation of internet artworks and is authored by a short-term PhD fellow at LIMA.

Excavating Amnesia: A Media Archaeology of Early Internet Art from Singapore

Abstract: The notion of ‘newness’ is a tenacious apparition possessing discourses of new media art. Artistic explorations engaged with technology in Singapore tend to be perceived in discontinuous fragments, imbuing such practices with an apparent ahistoricity. This essay seeks to disturb this amnesia beneath which Singapore new media art histories appear to rest. By drawing upon Jussi Parikka’s elucidation of media archaeology, two early instances of internet art by Singaporean artists will be analysed: Ocarina (1994), a digital art object housed within the virtual Lin Hsin Hsin Art Museum, and the internet performance/installation presented at Documenta11, alpha 3.4 (2002), by collective tsunamii.net (artists Charles Lim Yi Yong, Woon Tien Wei, and scientist Melvin Phua). These works, bracketing the period of the mid-1990s to early-2000s, are examined in relation to existing discussions of internet art in art history, as well as discourses of technology inflected by Singapore’s attempts to build and consolidate internet infrastructures through masterplans and initiatives. This essay thus gestures towards the complications and contrivances in thinking about Singapore’s new media art as a discursive entity, which is interwoven with regional historiographies of art and technology, and a project intrinsically related to questions of modernity and contemporaneity.

Retraction Note: A Review and State of Art of Internet of Things (IoT)

Retraction Note: A Review and State of Art of Internet of Things (IoT)

An Assessment on the State of Art of Internet of Things (IoT)

An Assessment on the State of Art of Internet of Things (IoT)

The Development and Influence of Internet Art in Social Media -- Taking Short Video App as an Example

New media art, as an emerging form of art, has an effect on art and media. People now see the new media art, especially Internet art, as a trade or subject in college, which means both the artist and audience fell into a pattern of the regular basis of net art. People also do not see the impact it has on society or their daily lives. This paper tends to analyze the influence of net art in society, media, and forms of art and how it affects people's minds and aesthetics. In addition, this paper will also find out the future of net art and how it should spread all over the world with the help of artists and the World Wide Web. By analyzing and researching the former articles. The paper uses indirect approaches to search out the connection between networks and social apps. Taking Tiktok as an example, the paper tries to illustrate the widespread of the art nowadays and how the network can help society and have a brother future. Eventually, people will see that network art does influence people's aesthetics in an imperceptible way and has an impact on their real life. Despite the problems such as the lack of supervision, all the serious copy issues or the differences In aesthetic level in the audience. As long as the artist keeps working on it and strikes a balance between art and media, the future of net art will be promising as people expect.

The State of Art and Future Development of Internet of Things Warehousing Technology

The Internet of Things (IoT) has received a lot of attention from the government, academia, and enterprise enterprises for its amazing software prospects, and the IoT warehousing technology has received vast attention. In this paper, primarily based on the study of the concept, workflow, and system components of the IoT storage system, we propose how to optimize the present IoT storage system scheme. The evaluation focuses on two aspects: the records transmission science of the system, and the enchantment area of the system algorithm. This paper gives the improvement technique of logistics information transfer in the common warehouse management process and additionally proposes the use of edge computing most desirable for optimization. This system has the advantages of being fast, convenient, accurate, efficient, and rather automatic in access, monitoring, inventory, and picking.

Mondrian in Action! Internet Art Build Using the VR Technology

Western aesthetic is built on empiricism that severs the unification of reality and metaphysics of ancient times. This restricts knowledge to the world of senses consequently shaping our modern way of operating in the world that tends to objectify and separates the world from the self. In doing so, the sense of ‘I’ enforces a viewer to externalize the world. However, with experiential technologies such as VR, this external, objectified world collapses as the viewer becomes immersed in a particular, virtual environment – overcoming the limitation of physicality by being engrossed in information as an extension of self. This paper argues such experience is reflective of an epistemology coming from Eastern cultures and philosophy. Specifically, by examining an early internet art build on VR technology called ‘Mondrian in Action!’ the article critiques the idea of High Art to resist secular fence of knowledge that marginalize other ways of experiencing the world.

SCOPE and EaaSI: Software Emulation and the Future of Architectural History

SCOPE and EaaSI: Software Emulation and the Future of Architectural History

MEDIA ART AS A DIRECTION FOR THE DEVELOPMENT OF ARTISTIC DESIGN OF THE ARCHITECTURAL ENVIRONMENT

The article examines media artworks, which are created using artificial intelligence technologies and computers in unusual digital forms, as an intermediary between the viewer and spatial art and allow rethinking the theoretical achievements of artistic design. The purpose of the article is to systematize information about the patterns of development of media art, the definition of forms of media art, its principles and methods in the study of media art as one of the directions of development of artistic design of the architectural environment. Materials and methods. Literary and information sources, comparative analysis, structural and logical modeling, systematization of research results, methods of experimental design. The article analyzes modern forms of media art: installations, cinema, video, animation, internet art, web art, software as art; virtual reality, musical environment. Five principles of media art have been established - these are the principles of interactivity, intellectual play, random access, coding of visual information and collaboration. Digital ways of creating a visual image of a work are considered. Their harmonious combination helps to develop a dynamic emotional architectural environment in accordance with the request of the audience. A comparative analysis of the principles and methods of media art and artistic design of the architectural environment revealed their significant relationship, and the same processes and phenomena are interpreted from different positions, as a result of which they acquire a new meaning and significant differences. This allows us to consider media art as one of the most promising ways for the development of artistic design.

What is post internet art? Toward an understanding of the peculiarities of the revolutionary movement in the new art

What is post internet art? Toward an understanding of the peculiarities of the revolutionary movement in the new art

RETRACTED ARTICLE: A Review and State of Art of Internet of Things (IoT)

RETRACTED ARTICLE: A Review and State of Art of Internet of Things (IoT)

New Media Art: Aligning Artistic Creativity And Technological Media

Abstract This article investigates the relationship between art and technology, pointing the constants of a process of cultural digestion which is mediated by the very sovereign technological environment – the Internet. Relying on the multiplicity and hybridization of the content formats, and also on the user involved interactivity as constructive vector-relationships, new media art and the internet art are natural consequences of the artistic practices of creative appropriation of contemporary technological media. As the complexity of the relationship between art and the technological environment becomes richer than ever, we assist to the creation of a contemporary ultra-technological culture, structurally dependent on the media and responsible for relativizing the critical positioning of the art consumer. Defining the premises of the interaction with a technologically interfaced world of art, the user (reader) of the Internet as a medium of expression is – equally – a consumer, and a producer of information (content).

Network culture and the aesthetics of dissension

This article addresses the complex relationship between digital activism and Internet art, from the initial proposals in the 1990s up to the present day. The analysis focuses on those projects that have most impacted the convergence of net art and “net-activism” during this period, with a particular emphasis on the relationship between artistic practice and hacktivism. Likewise, phenomena such as virtual sit-ins, DDOS-based strategies and several others that have emerged in the new context of social networks and participatory online platforms (memes, flash mobs, etc.) are analysed, in order to reflect on the new practices of social media art and their potential for specific critical action.

Enabling distributed intelligence in Internet of Things: an air quality monitoring use case

Air pollution is worsening almost everywhere in the world. According to the Health Effects Institute (HEI), more than 95% of the world population breathe polluted air, toxic to their cardiovascular and respiratory health, which caused the death of 4.2 million people worldwide in 2016. As a result, the air pollution has become one of the leading causes of death worldwide. Therefore, an early cost-efficient warning system based on precise forecasting tools must be put in place to measure and avoid the harmful effects of exposure to the main air pollutants. Thus, it is essential to obtain reliable analytical information on air quality in a specific time and place. This paper focuses on monitoring air quality using a distributed intelligence which is a cost-efficient solution that enables a flexible prediction process distributed within a network of nodes and devices using a cross-platform solution. The suggested architecture enables collaborative learning along with collective knowledge graph building and knowledge sharing using the state of the art in Internet of Things, distributed machine learning, and ontologies. The proposed architecture suggests a flexible prediction system personalized for each node based on its need of information. Similar nodes get together for collective learning which allows for resource optimization, knowledge reusability, and device interoperability. The paper describes the modeling framework of distributed intelligence monitoring and analysis system designed for urban regions.

Art on the Internet and the Digital Public Sphere, 1994–2003

Author(s): Driscoll, Megan Philipa | Advisor(s): Kwon, Miwon | Abstract: This dissertation narrates the development of internet art, a diverse set of practices united by their interrogation of the technological, social, and/or political bases of computer networks. Covering the period from 1994, when internet art coalesced around the rise of the World Wide Web, to 2003, when both internet art and internet culture writ large began to respond to the rise of social media and web 2.0 technologies, the dissertation homes in on specific net art projects that variously engaged or challenged this period’s most persistent claim: that the internet is a new, digital public sphere. By studying how these artworks critiqued this claim, the dissertation uncovers three major models through which net art has asserted the publicness of computer networks—as an interpersonal network that connects or unites strangers into groups; as a virtual space akin to physical spaces of public gathering, discourse, and visibility; and as a unique platform for public speech, a new mass media potentially accessible to all.Claims for the public status of computer networks rest on their ability to circulate information and facilitate discussion and debate. This definition of publicness is rooted in the concept of the classical public sphere as theorized by Ji?½rgen Habermas. The dissertation thus reviews Habermas’s model of the classical public sphere, and its most significant critiques, in order to interrogate the terms of a digital public sphere. The dissertation also engages Michael Warner’s work on the formation of publics, counterpublics, and the mass-cultural public sphere; Oskar Negt and Alexander Kluge’s analysis of shared experience as the foundation of the formation of public spheres and the role of mass media in this process; Henri Lefebvre’s articulation of the social production of space; and Gilles Deleuze and Alexander Galloway’s respective analyses of the role of network logics in systems of control. As a whole, the dissertation provides an historical account and critical analysis of internet art that encompasses not only its technological evolution but also its confrontation with the claims of publicness upon which our understanding of computer networks, and the art made on and about them, are founded.

Broken promises of Internet and democracy: Internet art in Serbia, 1996–2014

The article uses case studies of artistic and cultural practices on Internet in Serbia (1996–2014) to provide a deeper analysis of possible uses of internet technology and internet art for social and political change as well as showcasing changing attitudes toward the internet in a transitional semi-periphery state. Through analyzing these questions, the article defines several phases of development of internet and art projects in Serbia including (a) the phase of techno-utopia when internet technology was used for staging and supporting student protests and the so-called first ‘internet revolution’ in Serbia (1996–1999); (b) the phase of ambivalence or ‘mixed feelings’ toward the Internet, triggered of by Kosovo War and North Atlantic Treaty Organization (NATO)-led bombing of 1999–2000; (c) the phase of optimism and hope about the Internet after the ‘October 5th’ revolution (2000–cc. 2005); and (d) the phase of disillusionment with both the Internet and democracy (2010–2014). This study re-evaluates early achievements and democratic principles of networked society and illuminates core issues and accomplishments of cyberculture from the 1990s until present times through the point of view of multiple actors present within Serbian art and culture.