ISEA2014_500w_2_in English

[Hi, nice guys in the internet! please check my English!]

ISEA2014_500w_2_in English

According to Julian Stallabrass' 'The Aesthetics of Net.Art,' net.art has no aesthetic attention because it does not have a material form.  Recently, contemporary art is becoming the immaterial. It is natural that the contemporary art is entering or stepping on the internet  at the point of immateriality.  Furthermore, Stallabrass described that; "The ‘objects’ of Internet art are far from being conventional art objects. They are not only reproducible without degradation but are almost free to transmit (or rather, once the initial outlay has been made, the marginal cost of each transmission is close to zero)." This point is concerned with the immateriality of art; the internet art can show art works anywhere as  almost perfect copies because of its immaterial nature. Internet art has no "original"; it is a huge difference from contemporary art that must have the original because it is based on the materiality. Now, contemporary art is getting the immaterial nature.

Although Artie Vierkant plays an important role on Post Internet Art, he does not call himself as Net Artist but just Artist. There is no difference between the online and the physical on his sense of art. His essay 'The Image Object Post-Internet' shows the artist who is aware with Internet is getting to use the digital data as same as the material objects.

Art Galleries that are also aware with Internet harness the Internet in order to spread the JPEG image instead of the original art work.  Even though 'Send Me the JPEG' is the satirical exhibition for the art world trend from the material to the online - non material, the art market tends to make new positive value of immateriality along with the artwork trend.  For example, Digital art auction like Paddles ON shows this equality; "Phillips' "first digital art auction" and featured webcam video files, GIFs, websites, and pieces of code alongside a handful of prints and sculptures." Art market is taking the Internet as new transmission system into the art world based on the physical entity; therefore, the non-physical art work that has no unique gets highly economic value.

Although the art world uses word 'free' as 'cost zero,' the Internet yami-ichi says the Internet is free, which means that the internet is not almost cost zero but freedom. The Internet yami-ichi may express a sense of freedom of the internet. The freedom of the internet, of course,  comes from its non-physical nature. The Internet yami-ichi likewise "Send me the JPEG" or a digital auction in the art world presents this immaterial sense of the internet on the real place;  however, there is the freedom is more important than the cost-zero. In contrast to that the art world is taking the internet as a new economic value as the new economic value into its material value system, the internet yami-ichi makes a unique place that people does not consider what the economic values is. The Japanese word 'Yami' has a double meaning of 'darkness' as well as 'illness = fetish/obsession.' These meanings are usually negative; however, the internet yami-ichi turns negative to the positive one. I think that it is the singularity of the internet yami-ichi.

このブログの人気の投稿

インスタグラムの設定にある「元の写真を保存」について

Surfin' に見たふたつのデスクトップ───永田康祐《Sierra》と山形一生《Desktop》

紀要論文 身体|複合体|四人称:ヒトとコンピュータとの関係に関する試論

授業ノート:ポストインターネット時代の芸術作品_ネット公開用

「薄さ」を与えられた平面:藤幡正樹の作品における平面の諸相

[インターネット アート これから]の「これから」を考えるためのメモ_03

MASSAGE連載10_谷口暁彦《夜だけど日食》と《透明感》@「超・いま・ここ」/ ディスプレイを軸に畳み込まれ、重なり合う複数の空間

写真家・小林健太さんとのトーク「ダーティーなGUI」のスライドとその後のメモ

「Generated X [生成されたX]」の気配

ディスプレイと物理世界との重ね合わせと物理世界から外れたディスプレイ:「一枚の絵の力」の永田さんと山形さん