סוזן חזן אוצרת למולטימדיה ומנהלת משרד האינטרנט מוזיאון ישראל, ירושלים אוצרות אמנות מקוונת: אליטיזם או פופוליזם? (דו - שיח ) ופרופ' שיזף רפאלי ראש המרכז המרכז לחקר חברת המידע אוניברסיטת חיפה

לאן תפנה בכדי למצוא אמנות? אנה תלך כדי לאתר אמנות ברשת? האם יהיה זה אפשרי לאתר אמנות בגוגל בלבד?

כמה נוח ויעיל יהיה זה שמישהו אחר יברור למענך אמנות מתוך ההיצע האינסופי

Leonardo da Vinci The Last Supper 1498 Tempera on plaster 460 x 880 cm (15 x 29 ft.) Convent of Santa Maria delle Grazie, Milan

דימוי העתק שכפול תמונהמקור אותנטי

Walter Benjamin’s Art in an Age of Mechanical Reproduction וולטר בנימין יצירת האמנות בעידן השעתוק המכני

המקור העתק דימוי שחזור שעתוק אמיתי הילה Aura שכפול אותנטי

Virtual museums Museum in progressMuseum in progress Vienna Museo MorandiMuseo Morandi Bologna Artmuseum.netArtmuseum.net The history of multimedia The Digital Art MuseumThe Digital Art Museum London Sigmund Freud MuseumSigmund Freud Museum Vienna Freud MuseumFreud Museum London Museum Dr. GuislainMuseum Dr. Guislain Ghent Dr. Hugo Museums of the MindDr. Hugo Museums of the Mind Antwerp The Alternative MuseumThe Alternative Museum New York The Joseph Brodsky museumThe Joseph Brodsky museum St. Petersburg The Museum of Jurassic TechnologyThe Museum of Jurassic Technology Los Angeles Prehistoric ArtPrehistoric Art Kemerovo Nobel e-MuseumNobel e-Museum Sweden Virtual Colour MuseumVirtual Colour Museum Zurich

REAL ART BORN DIGITAL

ImageBase Basics Everything in the ImageBase is from the collections of the Fine Arts Museums of San Francisco (the de Young Museum and the Legion of Honor). Approximately 12,000 artists are represented in the ImageBase The ImageBase contains images of 82,000+ objects.

Edouard Manet, Portrait of Charles Baudelaire Full Face, from the book Charles Baudelaire, sa vie et son oeuvre (Charles Baudelaire, His Life and His Work) by Charles Asselineau (Paris: Lemerre, 1869), 1865 French, 1832 – 1883 Etching on Chinese paper 9.7 x 8.1 cm (image) inches Bruno and Sadie Adriani Collection

Claude Monet, French, Waves Breaking, 1881, oil on canvas, 23 1/2 x 32 (59.7 x 81.3 cm)

MUVA

INTRODUCTION & BACKGROUND The Museum of Jurassic Technology in Los Angeles, California is an educational institution dedicated to the advancement of knowledge and the public appreciation of the Lower Jurassic. Like a coat of two colors, the Museum serves dual functions. On the one hand the Museum provides the academic community with a specialized repository of relics and artifacts from the Lower Jurassic, with an emphasis on those that demonstrate unusual or curious technological qualities. On the other hand the Museum serves the general public by providing the visitor a hands-on experience of "life in the Jurassic"....

Ashmole Museum, University of Oxford Tradescant Ark John Tradescant was Stuart Britain's top gardener at a time when previously unknown species of plant were being brought back from newly accessible parts of the world and the cultivation of nature was recognised as an art. He created gardens for a series of aristocratic employers and eventually for Charles I, taking up a post as "keeper of His Majesty's gardens, vines and silkworms". THE THUMS GARDENERS & BOTANISTS __ Part V __ THUM'S ARK During the ten years in which the Thums had inhabited South Platt, their house and garden had become renowned as Thum's Ark throughout the county and, in fact, the entire state. The location of their property has recently been established with some precision by Herbert Kannot. The house lay on the line of the present South Platt Road, within about a quarter acre of garden. A small orchard of some seven or eight trees lay close by the garden.

Our planet's rain forests - rich matrices of life which exist primarily in tropical regions - provide us with unique opportunity to observe life in all of its manifold and perplexing beauty. Most rain forests date back some two to three hundred million years. This extreme age has allowed many unusual and complex relationships to develop among the inhabitants of these tropical ecosystems. In the rain forest of the Cameroon in West Central Africa lives a floor dwelling ant known as Megaloponera foetens, or more commonly, the stink ant. This large ant - one of the very few to produce a cry audible to the human ear - lives by foraging for food among the fallen leaves and undergrowth of the extraordinarily rich rain forest floor. On occasion one of these ants, while looking for food is infected by inhaling a microscopic spore from a fungus of the genus Tomentella. After being inhaled, the spore seats in the ant's tiny brain and begins to grow, causing changes in the ant's patterns of behavior. The Ant appears troubled and confused; for the first time in its life the ant leaves the forest floor and begins to climb. Driven on by the growth of the fungus, the ant embarks on a long and exhaustive climb. Completely spent and having reached a prescribed height, the ant impales the plant with its mandibles. Thus affixed, the ant waits to die. Ants that have met their ends in this fashion are quite common in some sections of the forest. The fungus continues to consume first the nerve cells and finally all the soft tissue that remains of the ant. After approximately two weeks a spike appears from what had been the head of the ant. This spike is about an inch and a half in length and has a bright orange tip heavy with spores which rain down onto the rain forest floor for other unsuspecting ants to inhale. MEGOLAPONERA FOETENS STINK ANT OF THE CAMEROON OF WEST CENTRAL AFRICA

The Ahmanson Foundation The Annenberg Foundation The Andy Warhol Foundation Art Matters The Bohen Foundation The California Arts Council The California Community Foundation The Christensen Fund Creative Capital The Cultural Affairs Department The Deering Foundation Furthermore, a program of the J.M. Kaplan Fund The Getty Grant Program The Hyden Foundation The LEF Foundation The Liberty Hill Foundation The Los Angeles County Arts Commission The Lannan Foundation Los Angeles Cultural Affairs Department The MacArthur Foundation The Nathan Cummings Foundation The National Endowment for the Arts National State County Partnership The Ralph M. Parsons Foundation The Peter Norton Family Foundation The Pasadena Art Alliance The Peter S. Reed Foundation The Seaver Foundation The Trust for Mutual Understanding The Museum would not stand as it is today without their generous assistance.

ICOM Definition of a Museum A museum is a non-profit making, permanent institution in the service of society and of its development, and open to the public, which acquires, conserves, researches, communicates and exhibits, for purposes of study, education and enjoyment, material evidence of people and their environment.

Modifications to the ICOM Statutes adopted by the General Assembly in Barcelona on Friday 6th July 2001 now include Cultural centres and other entities that facilitate the preservation, continuation and management of tangible or intangible heritage resources (living heritage and digital creative activity) digital creative activity

On Monday, 10 September 2001 The ICANN Board unanimously adopted a resolution empowering the ICANN President to sign the agreement between ICANN and MuseDoma establishing dot-museum.. museum

ART BORN DIGITAL

Web-based applications Copyright Net real estate Web architecture Curatorial methodology Vocabularies Conservation and documentation Institutional affiliations Authentication and validation...

"Interactivity, Connectivity, Computability". Steve Dietz "interactivity and generativity, connectivity and multimediality" Susanne Jaschko - TRANSMEDIALE.DE "moving electrons" Johannes E Goebel - ZKM Karlsruhe "A time and process-based media and practice, existing in distributable formats, freed from the need to be presented in physical venues". Lucy Kimbell – New Media Art, 2004

Turing-land The world of computer arts, as exemplified by ISEA, Ars Electronica, SIGGRAPH art shows, etc. Lev Manovich, The Death of Computer Art [Online], 1996 [revised 2001]. Duchamp-land The art world -- galleries, major museums, prestigious art journals as in analogy with Disneyland.

Marcel Duchamp French-born American Artist Dadaist Surrealist Conceptual Ready-mades Fountain, 1917 Bicycle Wheel (third version, after lost original of 1913)

Alan Turing Cryptographer, mathematician, and founder of computer science, who invented a concept of a type of computer, called a "Turing Machine” presented in a paper in A function is computable if a Turing machine can compute it.

performance - icons - text - browsers - spam-art - - software - code - algorithms - video - audio websites - cell phones - discourse - CD/DVD - performance - chat - SMS - PDA’s - - proprietary software home - schools - galleries - web-zines – festivals - competitions – media centres - conferences - discussions lists Production Distribution Consumption Consumer

Douglas Davis - The World's First Collaborative Sentence How to Join in Making the World's First Collaborative Sentence WRITE, PERFORM, OR SING ANYTHING YOU WISH TO ADD IN WHATEVER LANGUAGE YOU LOVE TO THIS COLLABORATIVE WORK, JOINING HANDS AND MINDS WITH YOUR SISTERS AND BROTHERS OF WHATEVER RACE, REGION, OR BELIEF ANYWHERE IN THE WORLD World's First Collaborative Sentence World's First Collaborative Sentence

Unveiled on December 7, Kwangju Biennale,Korea School of Visual Arts' "Digital Salon" internationally tour Zentrum fur Kunst und Medientechnologie (ZKM),Karlsruhe, Germany "net.condition" Douglas Davis - The World's First Collaborative Sentence World's First Collaborative Sentence World's First Collaborative Sentence

The GRAMMATRON project is a "public domain narrative environment" developed by virtual artist Mark Amerika in conjunction with the Brown University Graduate Creative Writing Program and the National Science Foundation's (NSF) Graphics and Visualization Center Launched Ars Electronica "Fleshfactor" Festival Linz, Austria GRAMMATRON has been exhibited at over 40 international venues Ars Electronica Festival International Symposium of Electronic Art SIGGRAPH 98 "Beyond Interface" Adelaide Arts Festival "FOLDBACK" show in South Australia Virtual Worlds conference in Paris International Biennial of Film and Architecture in Graz

How To Be An Internet Artist Mark Amerika 1.Create a fictional identity. 2.Begin the branding process by turning this fictional identity into your domain name. 3.Register your domain name and set up an account with an Internet service provider (ISP). 4.Build a site-specific narrative mythology out of bits of data and then use the ISP to distribute this data to the niche markets that are waiting to form (digitally converge). 5.Develop unobtrusive e-commerce solutions that will enable your niche market to electronically purchase the products of your labor. 6.While continuing to build brand-name identity, do anything within your power to produce revenues that can easily be attributed to the success of your site-specific narrative mythology. 7.Reinvest all of the revenues you generate back into the research and development of your site- specific narrative mythology (as distributed from your fictional domain). 8.Use highly subversive marketing skills to attract attention to the fact that you are producing income from your narratological presence, and successfully transform that attention into its own media-virus or cultural meme that solidifies your brand-name as one of the industry leaders. 9.Achieve all of the previous eight goals in less time than it takes to develop a passionate sexual relationship with someone you love. 10. Launch your IPO.

Mark Napier

net.flag -- A flag for the internet Mark Napier - concept, design and java programming Liza Sabater - editor, research Josep Arimany Piella - research assistant Zach Lieberman - java programming net.flag was commissioned by the Solomon R. Guggenheim Museum for acquisition into their permanent collection.

Tap, James Buckhouse and Holly Brubach, 2001 A dancer will practice, make mistakes and eventually master a series of sixteen moves, which can be recombined and exchanged to create virtually limitless choreography.

IDEA LINE by Martin Wattenberg The IDEA LINE displays a timeline of net artworks, arranged in a fan of luminous threads, mapping lines of thought through time.

Date : September 4 ~ October 10, 2002 Wireless Art Project 1 Place : Art Center Nabi, Korea 'Watch Out!' is an experimental artwork for sharing one another's thoughts using new ways of communicating such as wireless technology and the internet. 'Watch Out!' is displayed at Art Center Nabi and on the street in front of three branches of TTL Zones in order to characterize the mobility of wireless technology. The participants communicate by sending SMS message or s on the website out.net. These messages are displayed on the monitor in the box on the street. 'Watch Out!', as a communicating window, connects people and makes them share their thoughts. The eyes looking inside of the box are projected onto the screen facing the street. The eyes thus look outside to the World. Through these big eyes gazing at the public like Big Brother in the novel '1984' by George Orwell, the artist attempts to blur the boundary between the inside and outside, and reformulate the relationship between the watcher and the watched.

ACCESS lets you track anonymous individuals in public places, by pursuing them with a robotic spotlight and acoustic beam system. ACCESS presents control tools generated by the surveillance technology combined with the advertising and Hollywood industries, and the internet. beware. Some individuals may not like the idea of being under surveillance. beware. Some individuals may love the attention. Access Ars Electronica 2003 Linz, Austria Marie Sester

Gravity Dragan Espenschied Art.Teleportacia artist in residence and his the People's Voice at Webby Awards. WEBBY AWARDS

The report investigated measures of trust by asking: To what extent, if at all would you tend to trust the information provides by the following types of organisations? Source

Space Art While there are many artworks that refer to space, few artists have so far investigated space directly as a unique context for the creation and installation of work. Tate in Space is attempting to redress this as an intrinsic part of its future programme, exploring the potential for artists residencies, sci-art collaborations and new commissions in addition to developing imaginative and appropriate ways in which Tate in Space may accommodate existing works from Tate's collection. Part of the research focuses on a practical investigation into issues of conservation in a zero gravity, confined and non-renewable atmospheric environment. What happens to a sculpture such as Richard Serra's Trip Hammer (1988) when denied of the gravity that holds it in place? How might this environment change the nature of works such as Cornelia Parker's Cold Dark Matter: An Exploded View (1991)?