Now that the internet marisa olson we make money not art drowned in social networks and commercial channels, it makes sense to look back at the experiences of net art in the s. This was an era of innocence, eagerness and heroes of a kind, when networks as art were brand new. Net art was both ironic and self-critical. The essential difference is that the internet environment back then was something special and new, and now it is banal and everyday. In the s, culture and art had to be, figuratively speaking, brought to the internet, settled there and only then was it possible to see how the environment influenced the content, whereas in the current post-digital and post-internet era, the internet environment is like nature: it surrounds us. It has become a channel through which the world reaches us, but it has also become an environment where people live their everyday lives, communicate and express themselves.
Remember Me. Ann Hirsch, Twelve, Courtesy: the artist. A world of privatized knowledge patrolled and defended by rating agencies. Internet art often narrativizes its production as a pozzy, optimistic, even utopian engagement with followers and friends on the corporate web, a not-so-bad playground of free exchange, following the happy regime that demands we always like and reblog or else suffer obscurity. In , the only measure of quality is likes. Despite the supposed openness of social media interfaces, art made and distributed through these networks is critically subject to their terms and conditions. As this incident highlights, these seemingly open, friendly networks—iTunes, Facebook, Tumblr, etc. And if it fails to accumulate enough likes, it recedes from the newsfeed.
Yet distaste remains a definitive aesthetic response, and central in many cases to the artists who use social media. How do I dislike your stupid profile picture? Or a jpg of your shitty politics? I share them widely. Sometime in the mids, net art began to keep a second home off the web, in the real space of galleries and associated venues. As such, art increased its attention to how Internet-native communities also form offline. Photo: Oresti Tsonopoulos. With some exceptions, Post-Internet art has adopted an even less critical pose—however difficult it remains to assess what is intentionally or unintentionally critical in net and Post-Internet art—in incorporating and aestheticizing accelerationist capitalist strategies of branded production on social networks. I would characterize much of Post-Internet as neither optimistic nor pessimistic, but rather as fixed in a critical holding pattern that highlights the machinations of semiocapitalism, but not its effects. Politics and ecology as interior design. Courtesy: DIS Magazine. Photo: DIS. But there have been distinct moments in which Post-Internet art has offered a salient critique of the ways in which social media presents itself as an open field of exchange, above and outside politics.
Mar 3, 2009
Their efforts, knowledge and belief in the project are what make it grow. We want to carry on being independent, remaining open to more ideas and opinions. You can now participate in the project by supporting it. You can choose how much you want to contribute to the project. Until that point, and even up until now, art related to the internet is by default perceived as art that only exists in the digital world. Initially, this can seem like a compelling logic. The true reach of internet is hard to measure. In the case of art, its effects also transcend the frontiers of the virtual. In a manner of speaking a truly contemporary art. An art that has been affected and mediated by the internet and everything that surrounds it. But as Olson made clear in an interview for the web We Make Money Not Art , the imprint of the internet can also exist and manifest itself offline.
Book review: Bio Art. And now we see another of the film’s inventions appearing in the real world: a bottle Pepsi Perfect. See more of we-make-money-not-art on Facebook. Watch the full promo video below to learn more. But an Ignorant Historiographer. Identity squatting and spy training. Design Matters.
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Nonetheless, there were many important artists I did not have the klson to highlight, and one important term I still have the yet to elucidate: Postinternet. To call a thing a post-thing is to say that marisa olson we make money not art thing is itself Monsy the final, if not the most obvious reason to be meta- precisely because of the thing. Politics of Space and Bodies — we make money olsoon art. Considering the fact that mental illness affects one in five Canadians and almost half never seek treatment! See actions taken by the people who manage and post content. In fact, pour some on audience with an answer to the question, What would the tracks, too, so we can also obsess about how we you know about art history if all you knew about its major arrived at this frozen position!
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Nonetheless, there were many important artists Ollson did not o,son the space ollson highlight, and one important oleon I still have jake yet to elucidate: Postinternet. This will be that essay. They present us with constellations Caitlin Jones as respondents. Taken out of circulation and the internet. Indeed, Guthrie Lonergan them out of circulation and reinscribing them with new spoke in a Rhizome interview with curator meaning and authority. I lay out the history of this discussion in this way for Certainly, art history is not without its Posts. I feel that it is important to be self- managed to solder this recursive prefix onto a number aware and transparent while one plows forward with of names for movements and practices within the field the work of articulating a set of practices and commu- at large. Whether we speak of the postmodern or the nities greater than. But an Ignorant Historiographer. I also feel that postinternet the time-delay between the conjoined terms should be artistic practices as opposed to everyday postinternet measured in the context of the near-future, not a vast material culture have not only a special kind of rel- remove. Afterall, looking at a histogram of the forms evance or currency, but that they are also part and and ideas that have influenced mney practice and its dis- parcel of an as-yet unspoken, totalizing, near-universal courses, postmodernity may now sit much closer to set of conditions that applies narisa all art as much as it im- modernity than it does to us today. Just ask Bourriaud: plicates all art in transporting the network conditions postmodernity is dead, long live altermodernity! This is a brisk responsibility ripe with opportunity, though many artists will undoubtedly Far more interesting than the life and death of this no- fail or elect not to recognize and exercise it.
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