Computer Art and Technocultures

As relações entre comunicação e artes vêm se aproximando a cada dia, estabelecendo-se novos padrões e estudos acerca da convergência arte/comunicação permitindo, dessa forma, uma ampliação nos horizontes analíticos da cibercultura. A pesquisadora Margaret Morse destaca que: the "new" abilities of cyberculture (especially their "interactive" and "telematic" capacities), have radically altered our understanding of the function of images. Only a decade ago, under the scrutiny of a "politics of representation," an image was recognized as a discursive construction which conveys situated knowledges and powers. Today, images ferry not only a politics of meaning or place, but an ever-more-tangible "aspect of agency," in which the remote control of images (via telematics or telepresence) can be used to inflict immediate and potentially deadly change on the real world. An obvious case in point is the Gulf War, widely noted for the ways in which its mediation resembled a video game. What are the ethical costs of a war in which it is images, rather than flesh and blood people, which are the primary agents of destruction? What happens to a sense of social accountability or even humanness when telematic images allow one to be removed from the consequences of one's actions? (apud SEATON, 1999, p.2). Nesse sentido, a história da arte eletrônica no Brasil tem ramificações com o desenvolvimento de ciberculturas, originadas da convivência na rede de artistas, pesquisadores e internautas. Ma ainda é bastante difícil definir os limiares da arte eletrônica; A arte há muito deixou de ser uma atividade voltada apenas para o desenvolvimento da sensibilidade, o enleite, a provocação, a discussão de pontos de vistas, passando a integral o rol das atividades que podem significativamente atuar na cosnstrução de ciberculturas e, como se pretende discutir aqui, de inclusão digital, através de sua história e do manuseio de uma série de ferramentas que podem aproximar o indivíduo (adulto ou criança) dos mecanismos específicos da computação: É difícil definirmos o que é um computador, na medida em que ele pode tomar várias aparências. Temos vários equipamentos que permitem, entrada, cálculos, armazenamento e saída de informações. Mas nosso interesse é nessa possibilidade de montarmos sistemas com essa estrutura, criando as mais diferenciadas interfaces e programas

This op-ed style essay examines the wildly exaggerated claims made for Non-Fungible Tokens or NFT artworks. Above all, it questions the NFT's  peculiar reversal of digital media's inherent interchangeability by turning back to the centuries-old legacy of individual authorship and visionary private property. "NFT Fever: Is it Time for a Great Refusal 2.0?," was originally written for and published by the Portuguese cultural journal, Electra Magazine, and is hereby updated with some important corrections to the technical details. https://www.fundacaoedp.pt/en/content/electra-magazine

This is an edited version of the Introduction to my book  Digital Art, Aesthetic Creation: The Birth of a Medium, published by Routledge in their Advances in Art and Visual Studies series, 2019.  In the book, the chapter is entitled ‘Introduction: The Possibility of Art’. If you wish to cite this discussion please refer to the version as presented in the book .
    The discussion here justifies why digital art can be regarded as an authentically artistic mode of creation, and considers aspects of its creativity.

No existe certeza de la fecha exacta en que se programó esa imagen computacional, tan sólo sabemos que fue hacia fines de los 50. Lo cierto es que el registro data de 1959. Se trata apenas de la fotografía polaroid a una pantalla de computador, almacenada durante décadas como archivo, desclasificado recién en 2013. En tanto registro técnico -análogo- de otro acontecimiento técnico -digital-, esa foto polaroid ha adquirido también el estatus y relevancia de un suceso. Se trataría de la primera captura de pantalla de la que se tiene registro, antecedente genealógico, tal vez madre, de todas las capturas de pantalla que se han hecho después. Y aún más, a pesar de que la prensa ha hablado de esa foto polaroid como si se tratara de una mera anécdota, también ha dotado al acontecimiento registrado por la foto, de otros títulos inaugurales: primera obra de arte digital, primera imagen porno computacional, primera imagen humana de una pantalla interactiva. Se podría agregar: la primera foto de una imagen algorítmica, posando a la cámara.

This is the first attempt n Italy to deal with art & technology from the point of view of preservation. The most important international scholars, experts and artists are called to reflect on this very important topic.
The book include: Laura Barreca, Laura Calvi, Valentino Catricalà, Alice De Vecchi, Roberto Dipasquale, Ben Fino-Radin, Marialaura Ghidini, Oliver Grau, Jon Ippolito, Laura Leuzzi, Rafael Lozano-Hemmer, Alessandro Ludovico, Dorcas Muller, Stephen Partridge, Domenico Quaranta, Azalea Seratoni, Elaine Shemilt, Gaby Wijers.

En la actualidad el videojuego es uno de los medios de comunicación más potentes para crear discursos artísticos significativos en las sociedades interconectadas. A partir de la acotación del objeto de estudio y de la determinación de los elementos que conforman el lenguaje y la estética particular, de la cual se propone una definición propia, del medio videolúdico podemos analizar y contextualizar cuál es la praxis artística creada a partir del videojuego como medio expresivo-artístico.

Mediante la conceptualización del término Game Art, nomenclatura con la que se denomina dentro del mundo del arte las prácticas artísticas relacionadas con el juego y el videojuego, delimitaremos sus antecedentes dentro de la historia del arte en dos grandes líneas de investigación, Arte y juego y Arte y Nuevos Medios Multimedia Interactivos, y se propone una historiografía contingente del género dentro del ámbito europeo y anglosajón. En último lugar, establecemos una taxonomía propia lo más amplia posible de sus características definitorias y de los temas, artistas y obras principales.

In which ways glitch art is linked to perturbation? This master's degree research tries to approach definitional and theoretical limits of this new media artistic form. By sketching the glitch art history and by comparing it with some 1960's to today artworks, a critic of the dominant discourse about this subject will be propose.

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En quoi le glitch art se réfère-t-il à la perturbation? Ce travail universitaire tente d'approcher les limites définitionnelles et théoriques de cette forme artistique issue des nouveaux médias. Par l'esquisse d'une histoire de l'art glitch et par la comparaison de ce dernier avec des productions artistiques des années 1960 à aujourd'hui, une critique du discours dominant sur le sujet sera proposée.

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Writing code oneself was a key part of the reception and culture of early home computers; systems such as the BBC, the Spectrums, the TRS-80, the Atari, Commodore and Amiga ranges, and the Sega SC3000. In the 1980s, home coding was a significant use of these computers, both in terms of the numbers of people who dabbled at coding, and as a mode of engagement with a then new technology. A highly experimental practice, it presaged many of the contemporary practices involved in digital culture, the often-discussed phenomena of appropriation, modification, and remixing. Yet while the ‘advent’ of Web 2.0 has raised the profile of productive consumers, remarkably little attention has been paid to the earlier practices of home coders.

On first sight, coming with a definition for “AI arts” does not sound hard. AI (an abbreviation for the term Artificial Intelligence) refers to computers being able to perform many human-like cognitive tasks, such as playing games of chess and Go, recognizing content in images, translating between languages, selecting best candidates in a job search based on their CVs, and so on. This is how AI has been traditionally understood, and we can extend this concept to the arts. Following this logic, “AI arts” would refer to humans programing computers to create with a significant degree of autonomy new artifacts or experiences that professional members of the art world recognize as belonging to “contemporary art.” Or, we can teach computers skills of artists from some earlier historical period and expect that professional art historians recognize new artifacts the computer creates as possible art from this period....

Pionieri di un utilizzo espressivo del personal computer, proprio quando questo irresistibile strumento del futuro entrava nelle nostre case, la produzione multimediale dei Giovanotti Mondani Meccanici o GMM ha rappresentato la quintessenza della cultura postmoderna italiana, un modello di contaminazione di media, linguaggi, generi e contesti che ha preso forma di fumetti, installazioni video, performance, produzioni discografiche, teatrali e televisive.

Raccolti e «rimasterizzati» qui, per la prima volta, i loro famigerati computer comics a 8-bit originariamente pubblicati su Frigidaire tra il 1984 e il 1987, il lavoro più noto ed emblematico del gruppo fondato da Antonio Glessi e Andrea Zingoni. Realizzate mediante una primordiale tavoletta grafica con un Apple II da Glessi e caratterizzate dalla dimensione onirica delle sceneggiature di Zingoni, queste storie narrano delle surreali scorribande di una gang di loschi man in black, alter ego degli artisti, ora a spasso in una metafisica Firenze degli anni d’oro del Tenax ora impegnati a togliere la scena a personaggi come Dracula e Giulio Cesare.

I GMM furono al contempo vicini e lontani da: la scena del cosiddetto «nuovo fumetto»; l’attitudine al pastiche degli artisti visivi a loro contemporanei; le frange più ibride della cultura post-punk. Come scrisse Pier Vittorio Tondelli nel 1986, in un testo poi incluso nel suo epocale Un Weekend Postmoderno (1990): «Il dato più importante del lavoro dei GMM è proprio la commistione dei linguaggi, il loro intersecarsi e interagire. In altre parole quel concetto, quella musa, che sta alla base di tutta la produzione dei giovani degli anni ottanta; e quel concetto, quella musa, ha un nome: «multimedialità».

Adattate alle pagine della più inclassificabile pubblicazione periodica del postmodernismo italico e a volte presentate in forma di video accompagnate da colonne sonore realizzate dal «terzo» GMM, ovvero Maurizio Dami aka Alexander Robotnik, recuperare oggi le schizofreniche storie dei GMM è un modo per riscoprire una delle prime forme di risposta interrogative alla cultura elettronica e al suo impatto sull’individuo, la società e l’idea stessa di storia.

An interactive artwork takes on the shape of an event. An artist does not make a final, completed piece of art, instead produces an area of activity for the receivers, whose interactive actions bring to life an artwork-event. Regardless of what shape the final product of an artist's activity takes on, an interactive artwork finds its final formation only as a result of participative behavior of the viewers. The latter ones in that way become participants, performers, executors, or (co)creators of an artwork-event. What I consider the basic area of research in interactive art are the strategies organizing fields of activity for the receivers-participants. They can be understood as scores that project the interactive behavior of the receivers. The typology I put forward in this essay distinguish eight strategies of interactive art: strategy of instrument, game, archives, labyrinth, rhizome, system, network, and spectacle. The analysis of individual strategies reveals that all the common elements that occur there and characterizing an interactive experience en globe are organized differently each time. These elements are interface, interactions, data (database), data organization (hypertext, cybertext), software/hardware system, relations among participants, and performance/spectacle. In every strategy, a different factor takes a position superior to others and plays the basic role in the process of organizing interactive activities of the receivers. This means that it is not the occurrence within the frames of individual strategies of elements that are different each time, but their organization and hierarchy different each time that play a decisive role in providing strategies with their specific character. Discussing all strategies I shall distinguish their basic characteristic features but also pay attention to their range and variety of their forms observed so far. The latter aim I shall realize by pointing out to various actual examples of artistic usage of particular strategies.

This thesis addresses the escalation of interest in the senses, across a range of media technological contexts, dating from the mid 1990s. Much of this discourse has focussed on the experiential, particularly intense, multi-sensory experience of the present. As there are numerous discourses on the senses, technology and affect individually, my concern is to examine some of the intersections between these, in order to reconsider the contemporary significance of aesthetics in media contexts.

I develop a ‘hyper/aesthetic’ approach to try to think about aesthetic relations with technology in a nuanced way, opening up a space from which to investigate a variety of relations with technology. Walter Benjamin’s work on the senses and modern technology is useful in this, as is that of two of his commentators, Susan Buck-Morss and Miriam Hansen. In providing the outlines of a hyper/aesthetic approach in this thesis, I am, in particular, seeking to complexify understandings of audience reception and meaning-making, to return some ambivalence to conceptions of the sensory encounter with technology.

Hyper/aesthetics is a term that draws together ambivalence, doubling, virtuality, unfamiliarity, innervation, and moving beyond, all concepts that are relevant to the senses and subjectivity.

In close readings of case studies drawn from the areas of advertising, computer gaming practices, and new media art, I argue that as well as critiquing their claims to newness, it is also important to attend to the ways in which particular relations with technology exceed or refuse the logic of instrumentality. In particular, these cases consider the emerging aesthetic experiences that technologies of computer gaming and new media art facilitate, and the new subjective possibilities that follow from each.

Approaching these studies hyper/aesthetically enables me to go beyond other accounts in appreciating the more experimental character of some of these relations with technology. I particularly focus on the effects and affects generated by encounters with the unfamiliar, including that which is considered strange, ‘unnatural’ or ‘inhuman’, and critically appraise the significance of encounters such as these for the manner in which subjectivity is conceived.

This book outlines the environments of loving in contemporary technoculture and explains the changes in the manner of feelings (including the experience of senses, spaces, and temporalities) in technologically mediated relationships. Synchronic and retrospective in its approach, this Element defines affection (romance, companionship, intimacy etc.) in the reality marked by the material and affective 'intangibility' that has emerged from the rise of digitalism and technological advancement. Analysing the (re)constructions of intimacy, it describes our sensual and somatic experiences in conditions where the human body, believed to be extending itself by means of the media and technological devices, is in fact the extension of the media and their technologies. It is a study that outlines shifts and continuums in the 'practices of togetherness' and which critically rereads late modern paradigms of emotional and affective experiences, filling a gap in the existing critical approaches to technological and technologized love.

https://www.cambridge.org/core/elements/abs/love-in-contemporary-technoculture/074FE883A89E836B494D581E7C74A3AB?fbclid=IwAR29WReMn5UMp0OnjwQi8RtHqlmRHyBWwTwGAbbOlwgon1wRopnbZVOcgtY

Volynets A. A., PhD, senior lecturer in social sciences and their
teaching methods, Chernihiv Regional Institute of Postgraduate
Education named Ushinski (Ukraine, Chernigov), [email protected]
Chaotic as an esthetic principle of computer art While treating computer art as a marginal cultural phenomenon without giving sufficient attention to its great potential, we lose the opportunity to look at a perspective of art development in general, since computer arts give new space for creation and blur the lines between the artist’s world and the observer’s reality, and sometimes destroy difference between reality, artwork and fiction.
With the spread of technologies, which have become an integral part of modern world, chaos has been one of the key ontological categories not only in development of computer technology, but also in creation of new kinds of artistic work in digital art.

Computer-generated aesthetic artefacts and the technology employed to create them have brought serious challenges for art scholarship. How should they be understood, described and categorised in relation to non-computational artworks, and how current technological developments are affecting aesthetic practices and our understanding of art in the Information Age are two of the most pressing questions in this field. To address them, this dissertation proposes a scientifically-informed conceptual inquiry and historical account of the relation between computational technology and art. The analysis here presented is based on insights provided by contemporary philosophy of technology and philosophy of information. These styles of analysis give access to a broader understanding of information and communication technologies (and computational technology in particular) that mitigates some of the epistemic shortcomings of media studies and critical theory. This dissertation shows computers are the ultimate modelling machines; tools that allow us design, represent, interact with, and objectify entities and experiences that need not exist in concrete (Modern or “Newtonian”) reality, but merely as . It shows computational aesthetic objects may be better described as simulations: as dynamic, persistent, technically mediated renderings of a source system at different levels of abstraction (granularities). But also that they may also be regarded and analysed as complex informational systems: as patterns, programs, or interfaces which, upon being interpreted, not merely convey but generate new factual information. Ultimately, this dissertation shows that regarding computational technology and computational aesthetic objects as systems illuminates their complexities and shows why monolithic and overarching characterisations of either of them are unlikely to provide valuable knowledge in the long run. While only explicit on certain sections, the underlying argument advanced by this dissertation is that art scholars should care to develop a more robust computational literacy, as well as to question certain (Romantic) prejudices concerning the relationship between art, science, and technology.

Une brève histoire des arts numériques à partir de trois numéros hors-série de la revue Art Press International : texte de la conférence donnée à la Chaire de Modélisation des Imaginaires, Paristech Télécom, accessible en ligne à
http://imaginaires.telecom-paristech.fr/2014/01/22/norbert-hillaire-invite-des-jeudis-de-limaginaire-du-20-mars-2014/

Cet essai voudrait rendre compte des mutations qui se sont opérées depuis plus de vingt ans, dans les relations entre les arts et les technologies. Mais comme il s'agit de mutations en cours, et que l'idée d'une histoire immédiate présente le danger d'une trop grande proximité avec l'objet qu'elle entend traiter pour permettre le recul nécessaire, je m'appuierai sur trois publications dont j'avais été le coordonnateur pour la revue Art Press, et qui, situées chacune à dix ans de distance, permettent au moins de jalonner de quelques repères cette histoire à court terme, et qui en un sens ne fait que commencer.

Early uses of computers as artistic means and ends date back to the fifties and sixties. For the pioneers of computer art cybernetics, as the were founded in the forties by Norbert Wiener and Clude Elwood Shannon, were a source of inspiration. Simultaneously to the evolution of kinetic art integrating moving parts into the art object a 'cybernetic art'  arose. Its protagonists developed works reacting to input data and interacting with the environment. "Material models" (N. Wiener) of cybernetics were the forerunners of cybernetic sulptures (Nicolas Schöffer) and responsive environments (Gordon Pask). The cybernetic term information and information aesthetics (Max Bense, Abraham Moles) inspired artists to program computer graphics (Georg Nees, Frieder Nake, Herbert Werner Franke).

Adjunto el primer capítulo de mi libro Érase unas veces: filiaciones narrativas en el arte digital (UOC Press, 2015).

“Érase una vez” ha sido la fórmula tradicional para contar una historia desde el principio de los tiempos. Pero, ¿qué ocurre con los relatos cuando se cuentan por ordenador, incluyen texto, imagen y sonido, ofrecen varios caminos narrativos, o incluso son interactiv0s? ¿De dónde vienen tales narraciones? Este ensayo profundiza en los relatos contados por ordenador (obras narrativas digitales) y en su origen múltiple (o filiaciones literarias, cinematográficas, videográficas y postmediáticas). Porque cuando contamos historias con el ordenador ya no decimos “érase una vez”, sino “érase unas veces”.

Este ensayo se basa en mi tesis doctoral, defendida en 2014 en la Universidad Pompeu Fabra. Así obtuve el título de doctora en Comunicación Social con la calificación cum laude. El ensayo íntegro puede adquirirse en http://www.editorialuoc.cat/raseunasveces-p-1680.html?cPath=1 

Érase unas veces. Filiaciones narrativas en el arte digital. Available from: https://www.researchgate.net/publication/274194010_rase_unas_veces._Filiaciones_narrativas_en_el_arte_digital [accessed May 13, 2015].

It. Arte digitale; Deut. Digitalkunst; Es. Arte digital; Fr. Art numérique. If Computer art generally refers to any form of art in which the function of the computer is emphasized, in the history of contemporary art it became a specific way of expression into the horizon of Digital art, New Media art or Video art, which include all the artistic productions generated by electronic devices and technological tools. Since the first forms of expressive experimentation by Computer artists (in the 1960s with John Whitney and Charles Csuri, in the late 1970s and early 1980s with the work of Larry Cuba), Computer art has not been a movement and there has not been a manifesto: it gives no indication of specific aesthetic qualities or stylistic techniques. A possible definition of Computer art should focus on works of art produced by algorithmic programming, without translation of the image from analogic recording of the real but with direct production in software code writing. Especially in the 1990s and today, Computer art has been an important source of inspiration for audiovisual-movie industry and video-music products.

Living Machines is an international conference series concerned with the development of future real-world technologies that harness the principles underlying living systems and the flow of communication signals between living and artificial systems.  The conference highlights the most exciting contemporary research in biomimetics—the development of novel technologies through the distillation of principles from the study of biological systems, and biohybrids—formed by combining a biological component—an existing living system—with an artificial, newly-engineered component.  The concept of “Living Machine” captures the insight that useful artificial entities can be designed by copying life, and, at the same time, that we can understand biological organisms, including ourselves, as living machines “designed” by nature.

Some of the most interesting new developments in biomimetic and biohybrid technologies, grouped under five themes, together with some striking examples of contemporary biomimetic or biohybrid art, were selected for presentation at the Living Machines Exhibition, a one-day event at the Science Museum in London. Highlights of the 2013 Living Machines exhibition included:
• A musical performance featuring the iCub humanoid robot
• Mammal-like robots with whiskered touch systems
• A robot model of fossilised animal behaviour from the dawn of life
• Biomimetic medical devices including a wasp-like needle for minimally-invasive surgery
• A robot that powers itself by digesting human waste
• Micro-flying robots, worm, octopus, fish and mammal-like robots
• Biohybrid clothing made with living cells and robots controlled by slime mould
• Live visual art generated by the Artificial Intelligence AARON, created by Harold Cohen
• A string quartet performing music generated by the Artificial Intelligence EMI, created by David Cope.

The Living Machines conference series and the Living Machines exhibition are co-ordinated by the Convergent Science Network of Biomimetics and Neurotechnology (csnetwork.eu) which is supported by the EU Future Emerging Technologies (FET) Programme.  Both events are organised by the leading biomimetic scientists Professor Tony Prescott of the University of Sheffield and Professor Paul Verschure of the University of Pompeu Fabra in Barcelona. Contact us at [email protected] or [email protected], or see our web-pages at http://csnetwork.eu

Our reality is now integrally determined and dependent on information technology. Phenomena such as social media, virtual reality, artificial intelligence, skeuomorphism, cryptocurrencies, the metaverse and related issues of convergence, immersion, alienation, and surveillance are now public knowledge and usual areas of investigation for visual artists. However, in light of the acceleration of digitization processes induced by the outbreak of the COVID-19 pandemic, even within the field of contemporary art history is emerging an increasingly pressing need to identify the origins and trace the evolution of the impact of electronic culture on the visual arts, in line with the more recent goals of other research fields such as visual studies and media archaeology.

While many of these phenomena are characteristic of our time, their origins date back to the so-called information age, an era that extends from the advent of cybernetic culture with the invention of the transistor in 1947, to the processes of computerization in the 1960s, from the spread of personal computers in the late 1970s to the birth of the Internet in the early 1990s. Discussions on electronic art in the information age are usually traced back to exhibitions such as Cybernetic Serendipity (ICA, London, 1968), Software (Jewish Museum, New York, 1970) or Les Immatériaux (Centre Pompidou, Paris, 1985) and to publications by art historians and curators such as Jasia Reichardt and Frank Popper, but a global history of computer art, in its multiple articulations, still has to be written.

This issue of piano b aims to be a first attempt to map and reflect on the birth and early evolution of computer art and computer science in visual culture in Italy. The Italian situation is a peculiar one, characterized by continuous exchanges between the arts and industry, intermedia and collective productions, radical forms of bottom-up technological appropriation, visionary approaches to electronic devices as tools for liberation – in cyberpunk and cyberfeminist terms – and pioneering reflections on the haptic dimension of virtual reality and the new ideas of “community” introduced by the Internet. Some of these areas have recently been the object of studies, but the convergences between art and computers in Italy have not yet been examined from a unitary perspective.

Along with the identification of case studies and pivot points, the call wants to stimulate a process of contextualization of these phenomena in light of the Italian peculiarities, both in social and economic terms and in cultural terms. The objective is also to consider the visual artists’ acquisition of specific technological skills, as well as their withdrawal from the traditional logic of the contemporary art system, as part of a process of empowerment, or a growing awareness of the impact of their work on the collective imagination. The main contribution of computer art, in fact, on a global scale and so also in Italy, seems to concern less the application of information technology than its imagination and continuous questioning.

Topics might include but are not limited to:

– Programmed Art
– Art, design and the computer industry
– The interweaving of sounds and visions in electronic music
– The artist as a programmer
– Personal computer art
– Postmodernism and computer science
– Relations between computer art and video art
– Electronic art festivals
– Computer graphics, videographics and creative industries
– Cyberpunk between liberation and dystopia
– Cyberfeminism: electronics and gender identity
– Haptic issues in interactive art and virtual reality
– From BBS to Internet: community and sharing

[Pt-Br]

O conceito de arte Pós-Internet e seus desdobramentos foi o que, ao longo deste Trabalho de Conclusão de Curso, procuramos identificar. Primeiramente, com o objetivo de melhor compreender tal conceito, buscamos delinear o surgimento das práticas artísticas relacionadas à Internet e do vocábulo “Internet Art”, identificando para este, com base em Broegger (2015), duas definições: uma de natureza restrita e uma mais abrangente. Em seguida, apresentando algumas comunicações da artista Marisa Olson (2006, 2008, 2014), localizamos em sua produção a origem do termo “Pós-Internet”, o qual foi desenvolvido a partir de suas ideias de uma arte que acontece “depois da Internet”, não necessariamente em rede, mas que é infundida com a linguagem visual digital, estética da rede e as políticas sociais de transmissão e recepção online. Além disso, escrevemos sobre a expressão “Internet Aware Art”, a qual foi utilizada por Olson como um parâmetro para a definição de arte Pós-Internet. Por fim, corroborando para um entendimento que reflete a maneira híbrida com a qual os artistas passaram a abordar a cultura em rede, discutimos sobre o conceito de “Arte Expandida da Internet”, proposto por Moss (2019).

[En]

The concept of Post-Internet art and its developments was the subject that, throughout this graduation thesis, we tried to pinpoint. Firstly, in order to better understand such a concept, we sought to outline the emergence of artistic practices related to the Internet and the term “Internet Art”, identifying for this term, based on Broegger (2015), two definitions: one of a restricted nature and a more encompassing one. Subsequently, presenting some communications by artist Marisa Olson (2006, 2008, 2014), we locate in her production the origin of the term “Post-Internet”, which was developed based on her ideas of an art that happens “after the Internet”, not necessarily online, but that is infused with digital visual language, network aesthetics and the social politics of online transmission and reception. In addition, we write about the term “Internet Aware Art”, which was used by Olson as a baseline for the definition of Post-Internet art. Finally, contributing to an understanding that reflects the hybrid way in which artists have come to approach networked culture, we discuss the concept of "Expanded Internet Art", as proposed by Moss (2019).

Storici e teorici dell’arte italiana hanno solitamente trattato il decennio Ottanta con sufficienza, leggendolo attraverso la lente del disimpegno e in funzione di movimenti pittorici fondati sul ritorno alla manualità e alla figurazione espressionista, interpretati come reazione alle pratiche concettuali che dominano il decennio precedente. In realtà, la pittura rappresenta solo una piccola parte della produzione artistica italiana in epoca postmoderna, una produzione la cui peculiarità – e questa è senz’altro una delle ragioni per la miope lettura storica del periodo – consiste nel suo essere transdisciplinare. Una nuova generazione di artisti e produttori culturali, infatti, sperimenta in quegli anni con pratiche performative e mediali spostandosi con disinvoltura dall’ambito dell’arte contemporanea a quelli di teatro, televisione, musica, design e comunicazione visiva. A fare da trait d’union tra queste pratiche è l’utilizzo delle tecnologie audiovisive, il video e il personal computer, che proprio nel decennio Ottanta vedono una diffusione di massa.

Adottando un approccio tra lo storico e il fenomenologico, l’articolo propone una “panoramica” sulle forme artistiche di utilizzo del video in Italia negli anni Ottanta, articolandone la trattazione attorno a tre linee interpretative connesse alle idee di: ibridazione, corpo e media. L’articolo si apre con alcune considerazioni di carattere storico-artistico. Prosegue quindi con cenni alla situazione artistica internazionale, alle teorie postmoderniste e alla cultura visuale del decennio. Sono poi delineate le tipologie di utilizzo del video in Italia e alcuni ambiti di riferimento come: le video sculture e installazioni; i rapporti tra video e teatro; tra video e design; tra video e televisione; i videoclip; e la computer art. La parte finale è dedicata al capillare network italiano di produzione, distribuzione e fruizione del video, che comprende distributori, spazi espositivi, festival e riviste. L’articolo si chiude con riflessioni sull’evoluzione dei criteri di classificazione e storicizzazione alla luce dei più recenti studi di cultura visuale.

Historians and theorists of Italian art have usually dealt with the Eighties with sufficiency, reading it through the lens of disengagement and focusing on painting movements based on the return to manual expression and expressionist figuration, interpreted as a reaction to the conceptual practices that dominated the previous decade. Actually, painting represents only a small part of Italian artistic production in the postmodern era, a production whose peculiarity—and this is undoubtedly one of the reasons for the short-sighted historical reading of the period—consists in its being transdisciplinary. Indeed, in those years, a new generation of artists and cultural producers experimented with performative and media practices, moving with ease from the field of contemporary art to those of theater, television, music, design and visual communication. The use of audiovisual technologies, both video and personal computers, which saw mass diffusion in the 1980s, represents the trait d’union between these practices.

Adopting an approach between the historical and the phenomenological, the article offers an "overview" of the artistic practices of video in Italy in the 1980s, articulating its discussion around three interpretative lines connected to the ideas of: hybridization, body and media. The article opens with some art-historical considerations. It then continues with an outline of the international artistic situation and references to post-modernist theories and the visual culture of the decade. Some typologies of experimental video practices in Italy are then outlined: video sculptures and installations; the relationships between video and theater; between video and design; between video and television; music videos; and computer art. The final part is dedicated to the capillary Italian network of production, distribution and fruition of video, which includes distributors, exhibition spaces, festivals and magazines. The article closes with some reflections on the evolution of the classification and historicization criteria in light of the most recent studies of visual culture.

Özet
İnsan doğduğu andan itibaren süregelen yıllarda teknoloji ile etkileşim içinde olmuş kendini teknolojinin bir parçası haline getirmesine ve teknolojiye uyum göstererek yaşamasına zemin hazırlamıştır. Çağlar boyunca değiştirme, dönüştürme, yapma, etme ve icat etme ile meşguliyetinin sonucu olarak insan her çağın gereklerine göre bir değişim göstermiştir. İnsan toplumla etkileşimine ve gereksinimlerine yönelik bağı merkez alan bir sosyalite geliştirir. Bu bağlamın ana karakter yapılanmasını da kültür oluşturur. Doğal olarak, insanın tüm biçimlendirme süreçlerini ve eylem yönelimlerini içeren bir teknolojik kapsam ile kültürün organik bağı da ortaya çıkmış olmaktadır. Teknoloji kültürü hem insanı tanımlamanın hem insana ait çevrenin çözümlenmesinin hem de varlık olarak yaşamsal gayesinin bir belirtisi olabilmektedir. Teknolojinin, kültürün her alanında önemli bir rol oynadığı toplumsal yaşamın çoğu alanında gözlemlenmektedir. Her yeni teknolojik gelişme ve bu teknolojinin topluma yayılması ile kültürün bu araçlar tarafından yönlendirilmesi sonucu teknoloji eksenli kültür günlük yaşam deneyimlerimizi yönetmeye kadar ilerlemiş bir tabu olabilmektedir. Teknolojiyi kullandığımız sürece toplumda var olabilmek, fark edilebilmek ve etkileşime geçilebilmek gibi çok çeşitli değişiklikler yaşanmaya başlanmıştır. Teknoloji kültürünün içinde sanatı incelediğimizde, her dönem teknoloji ile etkileşim içinde olmuştur. Bilgisayar teknolojilerinin gelişmesi ile dijital çağa adım atmış, sanatın olanakları neredeyse bizlere sonsuz seçenek sunmuştur. Bu noktada teknoloji sanatın imkânlarını genişlettikçe sanatçılar kendilerini ifade edecekleri farklı tavırlara yönelebilmektedirler. Teknoloji kültürünün içinde sanatın farklı disiplinlerini kullanıp kalıcı olma ve estetik algı çatışmasına girebilmektedirler. Video ve bilgisayar gibi elektronik araçlar eski temsil şekillerine meydan okumaktadır. "Bilgisayarlar sanat olabilir mi?" düşüncesinin ötesine gidebilmek için bazı ortak eleştirel kelime haznesinin oluşmasına ihtiyaç olabilmektedir. Bu bağlamda yeni teknolojik akımın sanata ve sanatçıya sunduğu yöntemleri inceleyip irdelemek ve anlamak gerekmektedir. İnsanlık tarihi kadar eski olan teknolojiden her dönemin sanatçıları eserlerini üretirken kendi döneminin bilim ve teknolojisinden yararlanmış ve bu etkileşimi üst düzey kullanabilen sanatçılar kalıcı olmayı başarabilmişlerdir. Bilgisayar teknolojilerinin gelişmesi ile sanatçılar dijital çağa adım atmış, sanatın olanakları bizlere sonsuz seçenek sunmuştur. Sanatçı kuralların kalktığı bir sanat anlayışı ile klasik sanat estetik algısının arasında kalmaktadır. Bu bildiride sanatçının izleyiciye sunduğu eserden beklenen/ beklenmeyen doyumu, kalıcı olabilme endişesi ekseninde dünyada ve Türkiye'de sanatçıların tutum ve tavırları incelenmiştir. Teknolojinin etkisiyle yeni sanat alanlarının dikkat çekicilik, akılda kalıcılık, geniş kitlelere daha kolay ulaşılabilirlik ve ekonomiklik açısından analizi ve sanatçıya olan etkilerinin incelenmesi ve çözüm odaklı tespitlerin yapılması amaçlanmıştır.

Abstract
From the time of human birth, through years of interaction with technology, it has made itself a part of technology and has set the ground for life by adapting to technology. Throughout the ages, as a result of busy, transforming, making, and inventing, man has shown a change according to the needs of every age. It develops a sociality centered on the connection to human society and its needs. Culture is also the main character structure of this context. Naturally, a technological context involving all the shaping processes and action orientations of the human being and the culturally related organic relationship have also emerged. Technology culture can be a symptom of both the identification of human beings, the resolution of human beings' surroundings and the existence of life as being. Technology is observed in most areas of social life in which the cul- ture plays an important role in all aspects. With every new technological development and the spread of this technology, cult culture is guided by these tools, technology-driven culture can become an advanced taboo to direct our daily life experiences. As long as we use technology, there have been various changes such as being able to exist in society, to be recognized and to be able to interact. When we studied art in technology culture, we were interacting with technology every semester. With the development of computer technology, the digital age has stepped in, and the possibilities of art have almost given us endless options. At this point, as technology expands the possibilities of art, artists are able to direct themselves to different attitudes that they express themselves. In technology culture, they use different disciplines of art to enter into the conflict of being permanent and aesthetic perception. Electronic devices such as video and computers challenge old forms of representation. "Could computers be art?" Some common critical vocabulary may need to be formed to go beyond thought. In this context, it is necessary to examine and analyze the methods that the new technological trend offers for art and artist.
The artists, who are as old as human history, are able to produce lasting works of artists of all periods and have benefited from the science and technology of their era and have been able to use this interaction at a high level. With the development of computer technology, artists stepped into the digital age and the possibilities of art offered us endless options. The artist stays between the concept of art and the sense of classical art aesthetics. In this report, the attitudes and attitudes of the artists in the world and in Turkey are investigated on the axis of the expectation / unexpected satisfaction from the work the artist presents to the audience, With the influence of technology, it is aimed to analyze the effects of the new art fields in terms of attractiveness, retention, ease of accessibility and economicality to large masses and to investigate the effects of the artists and to make solution-focused determinations.

Keywords : Technology, Technology Culture, Digital Art, Technology, Technology Culture, Digital Art

In 1969, the newly founded Centro de Estudios de Artes y Comunicación (later the Centro de Arte y Comunicación, CAYC) organized the exhibition Arte y cibernética, in the Galería Bonino in Buenos Aires. This exhibition drew upon a wealth of activity and excitement surrounding the union of art and technology, producing art through collaboration between artists and engineers on new platforms such as computers that was present in both the local context of Argentina and larger international art circuits. For this exhibition the director of CAYC, Jorge Glusberg, presented computer-generated prints of the Japanese Computer Technique Group along with a handful of prints by U.S. computer scientists, all of which had been featured in the renowned exhibition Cybernietic Serendipty at the ICA London, curated by Jasia Reichardt roughly a year before.
Arte y cibernética was also the product of a working group between computer engineers at the Escuela Técnica ORT and the artists Benedit, Berni, Deira, Mac Entyre, Romberg, and Vidal. As such it represents the desire of CAYC to foster this technologically avant-garde practice amongst a handful of Argentina’s leading visual artists. However, a tension exists between the aesthetics of “cybernetics” represented in exhibition produced by CAYC and those of the northern hemisphere. In this paper I will evaluate the aspirational methodology of the CAYC as evinced through this exhibition, and its subsequent traveling iterations, and the tensions that this institutional program produced in relation to the aesthetic and practice of computer-based or cybernetic art.
This presentation will concern itself with an analysis of the tension between discourse and practice that results from the real material conditions of Argentine artists and the CAYC at the beginning of the 1970s, and an elaboration of the exhibition’s multi-faceted intentions. For Glusberg and CAYC, much like Romero Brest and the Di Tella, the goal of artistic institutions at this moment was to bridge local artists with global artistic circuits. Arte y cibernética attempted to support experimental and technological art practices by Argentine artists so they could participate in global styles, and ultimately be recognized abroad in international exhibitions, biennials, and colloquia. And yet the successes of this project were mixed. A visual analysis of these prints in relation to the concepts of cybernetics as articulated by both Glusberg and international curators reveals a dissonance between the foreign and Argentine examples. Furthermore, few Argentine artists pursued a practice utilizing computers, but their computer-generated prints were disseminated and had a remarkable exhibition history, being shown around the world in a variety of contexts throughout the 1970s. Tracing the path and the evolution of this exhibition over time and across its various venues in Argentina, Venezuela, Uruguay, Brazil, the United States of America, England, France, and Yugoslavia will reveal that if not the artworks, the exhibition itself was a perfect example of cybernetic theory, inserting itself into the open system of international art circuits while evolving and absorbing feedback to meet external developments.
At the same time, it was shown in several locations around Argentina and the Rio de la Plata region, which speaks to an important, if not utopian, educational mission of CAYC to disseminate the most advanced examples of contemporary art to the “interior” provinces of Argentina. Balancing global aspirations with local concerns CAYC and Glusberg sought to produce a network of exchange between institutions across Argentina and Latin America. As such a study of this exhibition reveals the simultaneous yet distinct global and local aspirations of an art center in relation to the most contemporary example of technological artistic praxis.
This paper will present this expanded view of CAYC’s Arte y cibernética exhibitions, in both local and international contexts, with the objective of articulating that despite tensions within its discourse and its practice, it reveals an important case study in the manner in which the Argentine institution articulated and navigated local and global desires in this relatively early moment of experimentation with new media. Although the works it produced were neither significant examples of computer-generated art, nor the beginnings of prolific careers in this medium, the exhibition represents a significant example of the dissemination and education, which itself embodies more clearly the principles of cybernetics, its open circuits and feedback loops that prompted permutations of form and content in relation to unique contexts.

An overview of the Victoria and Albert Museum's digital art collection, which started in 1969 and was significantly expanded from the mid-2000s onwards. The text was published in Aesthetica, the catalogue of an exhibition to mark 50 years of computer-generated art, held at the DAM Gallery, Berlin, from 30 May to 1 August 2015. The full catalogue is available from DAM http://www.dam-gallery.de

Resumo A vida nas cidades do início do século XXI requer o trânsito entre diversas camadas técnicas que constituem a infraestrutura informacional presente nos espaços urbanos. Os modos de interação e percepção desses espaços são mediados a partir de dados gerados por nós e por sistemas computacionais considerados "inteligentes". A partir desses dados e utilizando interfaces digitais diversas, vivemos um fluxo contínuo de adaptação de nossa experiência subjetiva no ambiente urbano. Sistemas inteligentes ficam encarregados de operacionalizar a coleta, processamento e análise desses dados. Entretanto, os argumentos que fomentam a adoção dos sistemas inteligentes sugerem que tais processos decisórios e adaptativos seriam objetivos, minimizando a incerteza inerente aos modelos de inteligência artificial. Discutimos os modos de construção de realidades no ambiente urbano baseados em dados, comparando a inteligência subjetiva dos cidadãos e a inteligência objetiva desejada para os sistemas. Assim, abordamos teorias sobre o funcionamento cognitivo humano na interação com informações disponíveis no ambiente, em paralelo a fundamentos da aprendizagem de máquina baseada nos mesmos tipos de informações. Em seguida, discutimos como seres humanos e sistemas constroem suas respectivas "realidades" a partir daquelas informações, considerando a subjetividade da experiência humana e a incerteza dos modelos computacionais. Por fim, relacionamos os assuntos discutidos com exemplos de práticas artísticas ocupadas em discutir a relação entre dados, subjetividade e objetividade das pessoas em ambientes urbanos. Abstract Life in the cities of the beginning of the 21st century requires the transit between several technical layers that constitute the informational infrastructure present in the urban spaces. The modes of interaction and perception of these spaces are mediated by data generated by us and by computer systems considered "intelligent". From these data and using diverse digital interfaces, we live a continuous flow of adaptation of our subjective experience in the urban environment. Intelligent systems are in charge of operationalizing the collection, processing and analysis of these data. However, the arguments that encourage the adoption of intelligent systems suggest that such decision-making and adaptive processes would be objective, minimizing the uncertainty inherent in artificial intelligence models. We discuss the ways of building realities in the urban environment based on data, comparing the subjective intelligence of citizens and the desired objective intelligence for systems. Thus, we approach theories about human cognitive functioning in the interaction with information available in the environment, parallel to the fundamentals of machine learning based on the same types of information. Next, we discuss how human beings and systems construct their respective "realities" from that information, considering the subjectivity of human experience and the uncertainty of computational models. Finally, we relate the subjects discussed with examples of artistic practices occupied in discussing the relationship between data, subjectivity and objectivity of people in urban environments.

The Victoria and Albert's acquisition of major computer art collections is part of an ongoing project to document and preserve the history of this field. The V&A's pioneering work in this area is connected to the Computer Art and Technocultures project, in collaboration with Birkbeck College.

The paper describes the Victoria and Albert Museum’s recent success in acquiring computer-generated artworks, then goes on to highlight issues involved in acquiring, preserving and displaying early computer art, much of which only survives on paper.
The Museum is now involved in a project to undertake research into its computer art collections, catalogue the material and publish the results. The project is funded by the Arts and Humanities Research Council, UK, and is collaboration with Birkbeck College, University of London. The project will also organise conferences and a display at the Victoria and Albert Museum (V&A).

Il computer elettronico è la trasposizione in componenti fisici e virtuali di idee che sono nate insieme al linguaggio stesso. In origine parole e linguaggio erano intimamente connesse con i numeri e con le relazioni che da questi sbocciavano usandoli. Parole e numeri sono serviti a creare quel misterioso e complesso ambito evolutivo che chiamiamo conoscenza. La radice di questa parola la si può ritrovare nel termine sanscrito khun che sta ad indicare l’azione del mangiare. La conoscenza si trova subito in relazione con il nostro metabolismo e la nostra esistenza come esseri viventi su questo pianeta. Pensiamo un momento a cosa voleva dire mangiare in un tempo preistorico. Mangiare significava soprattutto dividere il cibo raccolto o cacciato con i componenti del gruppo. Vediamo come mangiare e dividere sono i fondamenti per l’altro significato della radice khun che è quello di numero.