internet art

By Joe Milutis, 6 November, 2014
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9781780997049
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296
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Abstract (in English)

Failure, A Writer’s Life is a catalogue of literary monstrosities. Its loosely organized vignettes and convolutes provide the intrepid reader with a philosophy for the unreadable, a consolation for the ignored, and a map for new literary worlds. "The unfinished, unreadable, unpublishable — the scribbled and illegible, the too slowly published, the countless unpublished, all that does not seem to count at all. . . . here lie all manner of ruins. From Marguerite Duras to Google Maps, Henri Bergson to H.P. Lovecraft, Orson Welles to Walter Benjamin to a host of literary ambulance drivers (not to mention the FBI, UFOs, and UbuWeb), _Failure, A Writer's Life_ charts empty spaces and occupied libraries, searches databases bereft of filters, files spam and porn and weather reports into their respective _konvoluts_, and realizes the full potential of cultural inscription. In a series of snapshots concatenated in the best surrealist mode, Milutis has curated a catalogue of curiosities as essential to understanding our current cultural condition as they are eccentric. With Nietzschean _witz_ and self-reflexive bravura, he teases out the occult links between heterogeneities in the tradition of Allen S. Weiss and Greil Marcus. In the process, Milutis redefines the 'virtual' as something much broader and more interesting than digital simulacra: as the unmanageable storehouse of memory and the inevitable expanse of forgetfulness. Here, in all its glamorous success, is the horizon of failure." ~ Craig Dworkin

Description (in English)

_ID_Xor-cism_ is a scrollable poem, that " invokes a reformatted body that simultaneously hijacks the dead visual space of the browser window and the "curling geo_edges" of sampled skin, reminiscent of the detached virtual flesh-ovoid we see in the old "floating finger trick." (Source Helen Burgess, University of Maryland.)_ID_Xor-cism_ featured as part of "Notes From the Underground" at Federation Square, Melbourne in 2009, as well as the online exhibition space for experimental digital work "Binarykatwalk".

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Description (in English)

When I began writing Mythologies in 1995 I was thinking about gender in language and, informed by a poststructuralist feminist critique of the representation of the female body as landscape, I set out to explode these stereotypes by using over-the-top geological metaphors. I wanted to convey a moment of realization, when a number of ideas come together at once. It mattered little to me what order the ideas came in, only that they came together in the end. The narrative structure of this non-linear HTML version was influenced by the Choose Your Own Adventure books. The interface was based on the placemats you get at many restaurants in Nova Scotia, which depict a map of Nova Scotia surrounded by icons of purported interest to tourists: lobsters, whales, lighthouses, beaches and the Bluenose. The found images and texts came from a geology course I took in university, a civil engineering manual from the 1920s and a random assortment of textbooks found in used bookstores. The deadpan technical descriptions of dikes, groins and mattress work add perverse sexual overtones to the otherwise quite chaste first-person narrative. Between the diagrammatic images and the enigmatic texts, a meta-narrative emerges - an entre space - where the absurd and the inarticulate, desire and loss may finally co-exist.

Pull Quotes

In some other millennia the southern shores of Nova Scotia likely kissed the lip of Morocco or nuzzled beneath the chin of Spain. The force of their embrace was evidenced by the great mountain range that slid down the long fault of their tectonic bodies.

At the height of their union these mountains were greater than the Rockies, a range just now rising to take a better view of her lover the Ocean.

These are strange times indeed, when mountains love oceans...

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Mythologies of Landforms and Little Girls, J. R. Carpenter
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Mythologies of Landforms and Little Girls, J. R. Carpenter
By J. R. Carpenter, 25 November, 2011
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Pull Quotes

Internet-based writing and art works emerge from, refer to, and thus must be understood within the complex context of the internet, which is in fact a conglomeration of contexts operating in concert (or not). For their function and for their intelligibility internet-based works are dependant upon the internet and all its vagaries, from the constraints of its physical infrastructure to the menace of its crawling bots, from the Babel babble of its code languages to the competing messages of its surface contents. How can works created for and within this highly provisional, seemingly immaterial, endlessly re-combinatory context be read, watched or understood in any other?

By Meri Alexandra Raita, 26 October, 2011
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0-500-20376-8
Pages
224
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Abstract (in English)

An exploration of the exciting and radical ways in which artists have embraced the internet and redefined the conventions of art.

Throughout the book, the view of artists, curators and critics offer and insider's perspective on the subject, while a timeline and glossary provide easy-to-follow guides to the key works, events and technological developments that have taken art into the twenty-first century. (From book cover)

Creative Works referenced