#olia lialina

[vispoarchive]

Olia Lialina. detail from Agatha Appears.

[yhancik]

And right from Olia (of, among other things, the Geocities Institute that runs oneterabyteofkilobyteage), a collection of Geocities dogs:

Enjoy!

original url http://www.geocities.com/nancyandfrankie/

last modified 2008-09-19 14:15:43

[saint-vagrant]

Oh I forgot to ask a question!

😂

Ok, here it is: Who’s your inspirations for your artistry?

Big question, I know.

^__^

hmmmm you're right, that is a big question! since you asked "who" i'm going to assume you mean other artists?

for painting i'm particularly inspired by Anthony Cudahy, Alex Beck, Sterling Hundley, Ashley Wood (all contemporary,) Euan Uglow, Joaquin Sorolla, Sargent, Arkady Plastov, Ivan Shishkin, Konstantin Yuon, Ferenc Pinter, and a number of names in the Brandywine school like Mead Schaeffer and NC Wyeth.

i reformatted my brain a little in 2021 by reading Fujimoto's Chainsaw Man. Other mangaka are Hirohiko Araki, Kosuke Fujishima, Otomo, Inoue, Urasawa, Miura. the 2S artist Brandon Hoax is a HUGE inspiration to me. same for Chase Conley, Peter Chung, Freddy Carrasco, Xia Gordon, Ron Wimberly, Chris Kindred, Mel Tow, Hiro Isono, mozame_mo, Yoshitake Yamane, @maxbanshees @potogawaryuiki @coshkunz @cparrisartand @fourcorneredgod @newjackcole @choodraws @doctop @hirosemaryhello @nocturnalwalkr @fanficciera @oak-n @purenonsens @juangeedraws @plaest2k @blackblobyellowcone @turndecassette2 many more friends and strangers whose work i'm delighted to spend time traveling thru (and whose names i'll add in once i publish this enormous reply lol. rn i'm afraid of tumblr eating it!!)

most importantly, my partner Anka @kingfisher-cove charmed and captivated me from day one. the personality and dynamism of their work, specificity of place, time, body, personal effects, there's always been so much life in their art. i have little to no interest in stories/characters without limits, where mobility is never a concern, especially featuring the wealthy. stories where people don't sweat or pee or have "bad" teeth or talk too loud. Anka's always portrayed peeling paint and rusted metal as a fact of life. you get a sense of dimension/volume in their art— the way material hangs off a body, and that body's form, how gravity and weight conform feet to the ground— and the same goes for the personalities and ideas populating it. the viewer too has a home here beyond "representation." it's not just window-dressing, nor ponderous hyperrealism. there's cartoon whimsy and cartoon stakes. i wish i could describe the extent it's meaningful to me. i feel lucky to see it! plus i really making them yell and art is a good way of accomplishing it.

so because this is veering into WHAT inspires me...

other than like, transness and communism and everything that entails, i'm inspired heavily by pornography and leather culture, and (mostly vintage) magazines like Honcho and Juggs, 70s italian erotica/nunsploitation. relatedly, the lush scenes of Pierre et Gilles and Tarsem and Christian Riese Lassen. i'm also deeply inspired by hyperlink/multimedia art, such as that by Olia Lialina of @oneterabyteofkilobyteage or projects like Ted's Cave. places and delights of my childhood like Myst/Riven, Fin Fin, rural river water, rocky beaches, soft glowing glades, sharks in coral outcrops. autonomy and dissociation, too.

with a lot of the artists i mentioned, there is a handiness, a presence in their work, a dedication to indulgence and/or experimentation, in subject, setting, medium, whatever. an interest not feigned. i also love maximalist colour and texture... in drawings, in textiles, anything! worldwide and through history. i'm inspired by golden age illustration and Iranian turquoise and carpets. miniatures. iconography. lotuses. magnolia.

you can fake sincerity of course. when it comes to making art that seems like a waste of precious effort. when i get a sense that the artist really loves People beyond serving up a telephone game of vibe-mood-aesthetic... that is cool to me. if the art isn't well-lived, then it's well-cared for. a lot of the nostalgia fodder is based on a memory of a memory that was sold for mass market consumers, so i'm a bit distrusting of it. which isn't to say that i don't love a tone poem (i do-- Legend is one of my favourite films) nor that it requires "realism" to accomplish either. i love being sold on the ridiculous. i respond well to like, an artist (in whatever respect) showing me something absurd with 100% unbridled earnestness and fearlessness about being silly. my top 3 favourite series are JoJo's Bizarre Adventure, Metal Gear Solid, and Ace Attorney. these are objectively as exaggerated in their drama as they are serious about their intent, and populated by straight freaks. one of my favourite directors is Michael Mann (Miami Vice, Manhunter, Heat, Thief, Collateral) who is known for his obsessive, even illustrative details but also, Audioslave plays during an emotional night drive. they don't let Audioslave play during an emotional night drive anymore. all these things are related lmao. let me go on a further tangent

there's an internal logic, right? and when it's flipped? that's the best. i don't mean a "twist," either. it's something else-- the author/artist revealing that, emotionally, things were always more complex than you were lead to believe, and it recontextualises the entire piece. if surprise is the best part of comedy then i think the same goes for melancholy. i love when the rug is pulled out from under me through something as simple as the reimagined N'doul episodes of the JJBA OVA. (YES! YES! I'LL TALK ABOUT IT FOREVER! I'M CRAZY! BUT I'M RIGHT!) is it a twist? nothing's actually changed about where the story is headed. you know where it's headed. but the meaning of that story has-- by creating an emotional trapdoor like that, it establishes a particular sense of suspense.

i'm mentioning these because i rewatched them recently-- films like Solaris and Sunshine and... you know what? Terminator are bigger to me than their subject matter because the emotional space they create is unnerving, where hope is fragile if it's present at all. something hard to accomplish... the bittersweet potency of ironic regret.

i'll keep adding to this. i could go on and on lol

[preenchimentosensivel]

minhas coisas favoritas de 2023

No momento evito ler listas como essa, na tentativa de proteger uma aura particular, um fim de ano pra chamar de meu.

Ver retrospectivas de outras pessoas tem me dado uma sensação de contaminação e talvez seja um sintoma da minha própria confusão, porque ainda não me sinto como costumo me sentir aos fins de ano, mas as evidências não mentem.

De qualquer forma, eu penso nesse texto (ou lista) há dias. Separo aqui pontos de contato que ficaram mais que outros, o que emerge à mente mais fácil e rápido ao pensar em tudo que aconteceu desde janeiro.

𓆝 𓆟 𓆞 𓆝 𓆟

「.𖥔 ݁ ˖ jogos 」

Pra começar, tive um breve momento de vício em Sudoku que fez eu me sentir 23x mais inteligente. Nunca tive curiosidade, posso dizer que era até contra. A disposição de quadrados e números era totalmente abstrata pra mim. Não mais! Joguei por vários dias seguidos pelo celular e senti muito prazer.

Coffee Talk Em algum momento, querendo sentir algo diferente e jogar algo que eu não sabia exatamente o quê, mas que acreditava que com certeza já existia, pesquisei “queer relaxing games”, que me levou a uma lista com algumas opções, entre elas Coffee Talk.

Qualquer apelo homoerótico é inicialmente subentendido, deixando mais espaço para a mente, o que eu amo, e também não é o foco dessa história cheia de fofoca, desencontros e embates morais numa cidade pós-humana.

Vibrei forte diante de várias cenas, sensíveis e emocionantes, fazendo eu me atentar mais a visual novels e o potencial infinito de conduzir quem joga/lê. O que me leva a

Milk inside a bag of milk inside a bag of milk Recomendação de Bill, que trocamos em pé numa papelaria da Liberdade. Falei de Coffee Talk e Bill me indicou esse. Um jogo de 40min que te encurrala no caminho de comprar leite no mercado. Essa foi a sensação. Imagens lindas e autocomentários pontudos, metalinguagem e conversas difíceis.

Stardew Valley Atualmente viciado forte em Stardew Valley de novo. Sou pai, divorciado recém casado novamente. Delírio Farm vai bem e milionária, muito obrigado.

「.𖥔 ݁ ˖ livros 」

Li alguns livros esse ano - que bom!!! Porém sinto que meu grande momento com livros nos últimos tempos foi pensar incessantemente neles como objeto e possibilidade. Li muito sobre acesso à informação em xerox, fritei muito sobre leitura em contextos não-livros. O que impulsionou esses pensamentos com certeza foram textos como O que é Leitura, da coleção pequenos passos, e ter começado a estudar Letramento Informacional em uma pós graduação na UFG.

Minhas leituras foram em maioria difusas e incompletas. Li artigos, posts de blogs, pedaços de livros que tenho aqui. Fui ganhando paz nesse modo de ler que não se vale da finalização de um livro único, mas de coletar vários textos. Vi alguns memes no twitter recentemente que faziam essa comparação entre “pessoas comuns” lendo livros inteiros e pesquisadores lendo mil coisas. Me peguei pensando se sou um mal leitor comum ou um pesquisador largado e amador, mas acho que não importa tanto (provavelmente sou os dois).

Dos assuntos que obcequei forte, o texto de Leonardo Foletto sobre propriedade intelectual, o livro A cultura é livre, que muito fui relacionando com OpenAccess e coisas assim, que via na pós enquanto lia o livro (aquele poema pós da Angélica Freitas vem, toda vez que falo "pós" assim, casualmente) - e que inevitavelmente relacionei, distantemente e ainda sem muito corpo para elaboração, à interface e design cEnTrAdO nO UsuÁRiO, com Olia Lialina em Digital Folklore, e McKanzie Wark no Hacker Manifesto - ambos ainda pela metade, tô lendo devagarinho, mas representam bem uma nuvem de referências que me acompanhou nos últimos meses.

Dos terminados, preciso dizer que amei os dois únicos romances que li: Jazz, da Toni Morisson, e A paixão, da Jeanette Winterson. Talvez poste sobre os dois separadamente.

「.𖥔 ݁ ˖ música 」

Esse foi o meu ano Confessions on the dance floor. Não tá fácil me desvencilhar de uma onda nostálgica, a qual questiono muito, mas que vem inevitável e que tenho tentado não lutar tanto contra. 2022 foi meu ano Ray of Light, e 2023, mais especificamente no segundo semestre, chorei algumas vezes ouvindo How High. Sei lá!

Fiz essa sessão música, mas nem sei muito o que comentar. Viciei em Scarlet da Doja Cat, fiz uma Britney-terapia em antecipação ao livro, enquanto lia e depois de ler. Ouvi muitas playlists de dub. Conheci e amei Bar Italia e Water From your Eyes em dezembro, vale?

Fui basiquinho.

「.𖥔 ݁ ˖ viajar para São Paulo e comer no mapu e konru 」

Autoexplicativo, com ilustração:

Ver pessoas queridas, sentir coisas novas, foi muito bom e importante.

「.𖥔 ݁ ˖ blogs 」

Ano passado caí no texto Against an Increasingly User-Hostile Web do Parimal Satyal, que me introduziu ao termo smallweb. Esse texto me levou ao NeoCities, que me levou a personal blogs estáticos brilhando muito em HTML. Comecei a seguir alguns blogs, fazer o meu, e ter imersões esporádicas em hiperlinks que expandiam meu contato enferrujado com páginas pessoais: espaços criados para si ou assuntos de interesse, fora das redes sociais, codados do zero por quem publica.

De alguma forma, fui acessando ideias de decentralização da web, self-hosting e permacomputing através de blogs de artistas, desenvolvedores e entusiastas que eu achava em webrings, no micro.blog ou no Mastodon. É toda uma vibe, a qual ainda sou iniciante, mas bem curioso sobre.

A premissa de evitar qualquer gatekeeping é muito atraente e me fez pensar em tantas coisas nos últimos meses - acesso à informação, compartilhamento e comunidade. O básico do que se imaginava da internet num passado distante e romântico.

Nesse mergulho, dá pra encontrar de tudo, piras neolibs controversas, mas também confabulações críticas e necessárias sobre estar online de um jeito menos uó.

Tem sido legal ler a newsletter People and Blogs e tem sido legal pensar em ter um blog. Espero que seja legal continuar com esse.

☆.𓋼𓍊 𓆏 𓍊𓋼𓍊.☆

Mete bala, 2024. Gratiluz, 2023.

[deathbyautopilot]

We Control the Narrative - On Website Eugenics, Homestuck, and Your Problematic Favs

I entered the digital realm at about 10 years old, just barely witnessing the shift from the web to apps. I played Runescape on a dusty old desktop fitted with Windows XP and would browse through the open forums for games I would never play. But as much as I try to remember the endless dotcom online world and its endless whimsy, works like Kate Wagner’s 404 Page Not Found expose just how far gone that era truly is. For two decades now, the internet has been gradually appropriated by a powerful few, corralling an expansive and free userbase into an easily controlled market.

The shift from the open web to centralized apps has gradually stripped the individual user of the “thrill of the hunt” that characterized the Web 2.0 era. Kate Wagner reflected on the fleeting memories of the open internet, and that nostalgic experience of stumbling upon a single customized site that silently broke down the boundaries of the digital realm. Any website on any page of your search results could yield a treasure trove of groundbreaking new knowledge, media, and community. Sometimes this was finding a new online game, like how it felt to log in to Club Penguin for the first time. But more often than that, it was entire networks of individuals and media that would defy all expectations for what art, and the internet, can be.

This quote pulled from internet historian Olia Lialina summarizes the landscape best:

“It was a web of sudden connections and personal links. Pages were built on the edge of tomorrow, full of hope for a faster connection and a more powerful computer.”

But in a post-iPhone world, the shift towards streamlined and prescribed apps neglected the web into obsolescence. Maximalism gave way to minimalism, UIs gradually deteriorated, urging you to download their new app or subtly manipulating the content that browsers would expose users to. As a 90s kid, Wagner watched this happen in the fall of MySpace, where personal archives were purged simply because it was not profitable to keep them around. For me, it was the fall of Adobe Flash, and the creative media that it took away.

Adobe Flash and I go way back, spanning from Elementary school lunches in the computer lap playing Cool Math Games with all my classmates to late-night exploration on the family laptop. One of my most memorable internet experiences came in the months after I discovered Homestuck, a multi-media webcomic that dominated niche digital communities since its debut in 2009.

Having started only 2 years after the iPhone came out, Homestuck is a legend of early Web 2.0, with a rich and expansive digital narrative that the Atlantic dubbed “a story that could only be told online”. By blending IM chatlogs as dialogue, GIFs as panels, flash media, fully animated videos with complete soundtracks, and a one-of-a-kind narrative, this interactive site would draw in millions of users with each update and bridge the divide between forums, personal blogs, and social networks like Twitter and Tumblr.

I will always remember the day that Act 6 of the series came to a climax with the flash video [S] Collide (April 6th 2016, the best day of my 13 year-old, internet-dwelling life), and of course, July of the next year when it was announced that Adobe Flash would die by the end of 2020.

When Flash went down all those years later — while Homestuck was still being updated on this same site — the new owner of the series’ publishing and printing rights Viz Media made little effort to preserve the 8000+ page time capsule. This prompted fans of the series to come together to compile the Unofficial Homestuck Collection, an optimized, offline version of the original site, even offering language filters to correct its less tasteful writing choices. This was an invaluable act, but it also represents a process of corporate neglect, and the ongoing cleansing of any media online that is deemed unworthy of preservation. Wagner compared this to a series of minor Libraries of Alexandria being burned to the ground, and rich personal narratives being buried beneath a controlled legacy of human history.

“The artifacts of internet life are personal—that is, not professionally or historically notable—and therefore worthless.”

Homestuck fans are split between those who recognize it as a postmodern masterpiece comparable to Ulysses, and those who would be happy to see it left in the rubble of the old web. I understand the desire to leave the unfavourable behind us, but accepting the latter narrative gives in to what Wagner called “Website Eugenics”; A process of devaluing the maximalist, often personalized and gaudy, or in some way flawed in favour of the minimalist, rigid professional class standards being set for the contemporary web. In the case of “dated” media, either cringey personal blogs from middle school or crass lowbrow humour, they will be posited as a damper on material history, when in fact it is deeply human.

The more that we accept a narrative of some digital remnants being of value, and others being a poor reflection of our popular culture, the more that we allow an oppressive power dynamic to play out. Everything, even your cringey middle school Myspace or Tumblr blog, or a webcomic that was drawn in MS paint, deserves to be preserved. If the select few get to control the narrative of the majority, we slowly lose these beautiful connections between ourselves, our media, and our ongoing futures. Internet historians, archivists, and cultural commentators like Kate Wagner are doing what they know combats this agenda; revel in the legacy of the early web, retain all that you can, and do it authentically.

[oldwebmlp]

From: http://web.archive.org/web/20020814031413/http://firefrie.cjb.net:80/

The broken images falling down the page were apparently supposed to be autumn leaves. Seeing them reminded me of this blog post by Olia Lialina from One Terabyte of Kilobyte Age about restoring pages with similar animated snowflakes: https://blog.geocities.institute/archives/6620

[robhorninginternalexile]

From Olia Lialina’s “From Me to My” (2021). 

If we’re moving from the social media era to an AI era, perhaps this is what the nostalgia for the old platforms will look like: The “limitations” of their interfaces and modes of circulation will appear as freedoms from a more compulsory, AI-driven mode of participation and predictive containment. If it all goes to plan, platforms won’t need your input to anticipate your needs and compel you to satisfy them. Why upload when anything can be generated? Why make any choices about what you see when you can be saved the trouble of having to be curious? Why type anything when your input is redundant?

[yhancik]

In the nineties, when the personal computer entered private homes, it felt like a spatial extension of the living room, the office table, or the cellar computer station. As soon as computers got connected to the internet new ideas about what this space could be came into play. The early users did not just explore these new places, they built them; In her immersive talk Olia Lialina takes us on a dive through the cities, neighborhoods, buildings and dwellings of GeoCities, nineties legendary free hosting service. As Lialina shows us, it is no coincidence that ‘homepage’ implies the ‘home,’ since many of the early websites were designed as houses shaping the fantasy of an urban space online.

(Olia is also one of the two artists behind @oneterabyteofkilobyteage)

[crash-stop]

This coming Saturday @ gmt+1 5pm / Cest 6pm / Est 12pm online

With

Janna Ahrndt [US]

Janna Ahrndt (She/They) received her MFA in Electronic and Time- Based Art from Purdue University in 2019. Janna is currently a resident of Windham, Maine. Their work explores how deconstructing everyday technologies, or even designing them yourself, can question larger oppressive systems and create a space for participatory action.

The systematic erasure of the GeoCities platform has been a topic of conversation in new media archival circles. Olia Lialina & Dragan Espenschied’s One Terabyte of Kilobyte Age project emphasizes the importance of digital folklore and folk art as part of our history. I look at the collapse of this massive platform as a failed wakeup call to all those who forget their web presence is rented space from large corporations who can remove you or your entire community when it is deemed no longer profitable. As I focus on spaces of mourning and grief on this dead platform, I am also projected into what that means for mourning spaces on new platforms. In a way, all of the internet is built on a graveyard, and there is no way to permanently archive the experience of being on these dead platforms.

By using tears to analog glitch artifacts from these lost pages, I hope to evoke a hauntological perspective on the internet’s past.

For this event, I will describe my work mining the 1 TB of data archived from Geocities for personal memorial pages. This will lead into a participatory conversation with others about their experience with loss and how the internet may positively or negatively impact that experience. Other artists and researchers purposefully avoid using these pages in their display of this archive due to the personal nature of grief and loss. Post-pandemic, I have increasingly become fascinated and more aware of how my mourning and loss rituals have been shaped by digital mediation. This occupation with death, material culture, and the internet has led to the ongoing creation of my artwork, deadWeb Lacrymatory. Through the convergence of glitched media players, a vintage CRT monitor, and a vessel containing human tears and seawater, this project seeks to unravel the layers of cultural and emotional significance embedded in the digital artifacts of the past.

For more information follow the link

[glitchartistscollective]

This coming Saturday 26/10/2024 @ gmt+1 5pm / Cest 6pm / Est 12pm online with Janna Ahrndt discussing ' Archives of Digital Mourning: Deadweb Lacrymatory'

Janna Ahrndt [US] - (She/They) received her MFA in Electronic and Time- Based Art from Purdue University in 2019. Janna is currently a resident of Windham, Maine. Their work explores how deconstructing everyday technologies, or even designing them yourself, can question larger oppressive systems and create a space for participatory action.

The systematic erasure of the GeoCities platform has been a topic of conversation in new media archival circles. Olia Lialina & Dragan Espenschied’s One Terabyte of Kilobyte Age project emphasizes the importance of digital folklore and folk art as part of our history. I look at the collapse of this massive platform as a failed wakeup call to all those who forget their web presence is rented space from large corporations who can remove you or your entire community when it is deemed no longer profitable. As I focus on spaces of mourning and grief on this dead platform, I am also projected into what that means for mourning spaces on new platforms. In a way, all of the internet is built on a graveyard, and there is no way to permanently archive the experience of being on these dead platforms.

By using tears to analog glitch artifacts from these lost pages, I hope to evoke a hauntological perspective on the internet’s past.

For this event, I will describe my work mining the 1 TB of data archived from Geocities for personal memorial pages. This will lead into a participatory conversation with others about their experience with loss and how the internet may positively or negatively impact that experience. Other artists and researchers purposefully avoid using these pages in their display of this archive due to the personal nature of grief and loss. Post-pandemic, I have increasingly become fascinated and more aware of how my mourning and loss rituals have been shaped by digital mediation. This occupation with death, material culture, and the internet has led to the ongoing creation of my artwork, deadWeb Lacrymatory. Through the convergence of glitched media players, a vintage CRT monitor, and a vessel containing human tears and seawater, this project seeks to unravel the layers of cultural and emotional significance embedded in the digital artifacts of the past.

For more information follow the link.

[anikashw]

Balancing Creativity & Technology

In both bell hooks’ Teaching Critical Thinking and Olia Lialina’s Not Art & Tech, two important people offer their unique perspectives on the relationship between “creative practices” and “critical thinking”. hooks highlights how essential critical thinking is, not just for education but for meaningful creative expression and overall artwork. She believes that questioning the world around us—whether that’s societal norms or structures of power—is a necessary part of creating art that truly resonates and inspires. Thinking outside of the box and also outside of set ideals and exploring every facet of our world is a key aspect that she highlights throughout her writing. For hooks, art isn’t just about aesthetics or self-expression; it’s a way to push boundaries and challenge the so-called “status quo”.

Lialina, on the other hand, delves into the modern art world, particularly this terminology we see quite often, “the intersection of art & technology”. She critiques how new media art can sometimes overuse technology, focus more on the software, and overemphasize the technological aspect, losing sight of the deeper artistic intent of the creators. In her view, technology should be a supportive tool that enhances art, not the main focus, which I wholeheartedly agree with. Still, our society loves to capitalize on the notion of “modernism” and “advancement” across all creation platforms. Lialina’s perspective encourages artists to consider how technology can add substance to their work rather than flash and bling.

Based on both readings, some questions arise about the underlying messages and motivations of artists’ works—what ideas is it engaging with? This underscores the need for critical thinking in the art world. Meanwhile, Lialina encourages us to closely examine the role of technology—does it serve the art, or is it just there for show?

Balancing technological innovation with artistic integrity is extremely tough, as I can speak from personal experience. Our society is so oversaturated with technology that it feels like little things are constantly being invented every day, and there’s no originality simply because of the overuse of technology. I am trying to find a middle ground to counter this feeling, but it undeniably pressures artists to find their “niche” to capitalize on. Though getting swept up in the excitement of the newest tools is easy, both hooks and Lialina suggest that true creative depth comes from reflection and purpose, not just novelty. Critical thinking becomes a guiding force in ensuring that art, no matter how cutting-edge, still has heart and soul.

[influencer23]

(via Element of Early Internet Art Crossword)

Prominent Early Internet Art Activities

A few noteworthy ventures from the beginning of web craftsmanship keep on being praised for their development and impact:

Olia Lialina’s “My Sweetheart Returned from the Conflict” (1996) This spearheading piece of hypertext fiction utilizes a progression of interactive pictures and text parts to recount a nonlinear story, permitting watchers to explore through various account ways.

(1995) Made by the craftsman couple Joan Heemskerk and Dirk Paesmans, Jodi.org is an assortment of sites that undermine the shows of website composition, giving watchers apparently tumultuous and strange connection points that challenge their assumptions and comprehension of the web.

[s12023artnum]

Préservation des Arts Numériques : Surmonter les Défis de notre Ère Artistique

Dans notre ère numérique en constante évolution, l'art s'est aventuré au-delà des frontières traditionnelles, donnant naissance à des œuvres numériques qui défient les conventions artistiques. Toutefois, cette révolution artistique s'accompagne d'un défi de taille pour les institutions artistiques et les conservateurs : la conservation des œuvres d'art numériques.

Explorez avec nous les nuances complexes de cette tâche, mettant en lumière les stratégies innovantes adoptées, les défis spécifiques à la pérennité, et les exemples concrets d'œuvres numériques emblématiques.

Dans un paysage artistique où les expressions numériques prennent des formes diverses telles que les installations interactives, les vidéos générées par ordinateur et les créations alimentées par l'intelligence artificielle, la préservation de ces œuvres éphémères émerge comme un défi majeur. Un défi d'autant plus complexe que les œuvres numériques sont souvent façonnées par des logiciels et des technologies en constante évolution. La pérennité de ces créations devient alors une quête délicate, face à la rapide obsolescence des formats de fichiers et des technologies employées.

Exemple 1 : "Everydays: The First 5000 Days" de Beeple. Cette collection emblématique de Beeple, vendue sous la forme d'un NFT pour 69 millions de dollars, explore non seulement la continuité créative à travers le numérique, mais pose également la question de la valeur et de l'authenticité dans le contexte des œuvres numériques. La conservation de son intégrité devient une mission cruciale.

Exemple 2 : "The Persistence of Chaos" de Guo O Dong. Cette œuvre, consistant en un ordinateur infecté par six des virus informatiques les plus redoutés, met en évidence la fragilité des systèmes numériques. La préservation de cette œuvre unique soulève des questions sur la documentation détaillée nécessaire pour comprendre et restaurer l'œuvre dans son état initial.

 La préservation des œuvres d'art numériques a suscité des réponses innovantes de la part des institutions artistiques et des conservateurs, déployant un éventail de stratégies pour faire face aux défis dynamiques de ce domaine émergent.

Documentation Méticuleuse :

Les conservateurs s'engagent dans une documentation exhaustive des détails techniques, incluant les logiciels utilisés, les spécifications matérielles, et les processus de création. Cette approche méticuleuse devient un pilier pour la compréhension et la préservation à long terme.

Migration et Mise à Niveau Technologique :

Face à l'obsolescence rapide des technologies, les institutions entreprennent des projets de migration, transférant les œuvres vers des plates-formes ou des formats plus récents. Ces démarches nécessitent souvent une collaboration étroite avec des experts en informatique et des développeurs.

Création de Copies Authentiques :

Dans certains cas, les institutions optent pour la création de copies authentiques des œuvres numériques pour les exposer, tout en préservant les originaux dans des environnements contrôlés afin d'éviter les risques liés à une exposition continue.

Conservation Préventive :

Les conservateurs mettent en œuvre des mesures de conservation préventive visant à minimiser les risques physiques et environnementaux. Cela inclut la régulation minutieuse de la température, de l'humidité, et la protection contre les pannes de courant.

Éthique de la Restauration Numérique :

Lorsqu'il est nécessaire de restaurer des œuvres endommagées, les conservateurs suivent des pratiques éthiques rigoureuses pour préserver l'intégrité artistique tout en utilisant des technologies de restauration appropriées.

Exemple : "My Boyfriend Came Back from the War" de Olia Lialina Cette œuvre emblématique des premiers jours de l'art numérique illustre parfaitement le défi de l'obsolescence technologique. La restauration de cette pièce demande un équilibre délicat entre préservation et adaptation aux nouveaux standards.

Collaboration avec les Artistes :

La collaboration étroite avec les artistes devient un élément crucial du processus. Les conservateurs dialoguent souvent avec les créateurs pour comprendre leurs intentions artistiques, les processus de création, et discuter des ajustements nécessaires pour préserver la vision originale.

Éducation et Sensibilisation :

Les institutions s'investissent dans des efforts éducatifs pour sensibiliser le public à la complexité de la conservation des œuvres d'art numériques. Des expositions, des conférences, et des publications visent à partager les défis et les réussites de la préservation.

Développement de Normes et de Meilleures Pratiques :

Les conservateurs contribuent activement au développement de normes spécifiques à la conservation des œuvres numériques, collaborant avec d'autres professionnels et organisations spécialisées.

Gestion des Droits d'Auteur et des Licences :

La gestion des droits d'auteur revêt une importance cruciale, surtout dans le contexte émergent des NFT et des droits liés aux œuvres numériques. Les institutions veillent à respecter les droits des artistes.

Investissements dans la Recherche :

Les institutions investissent dans la recherche pour développer des solutions innovantes en matière de conservation. Ces efforts impliquent des collaborations avec des experts en informatique, des ingénieurs et d'autres spécialistes.

Dans l'univers des arts numériques, où la créativité s'entrelace avec la technologie, l'obsolescence des matériaux émerge comme un défi éminent. Alors que les artistes explorent de nouvelles frontières numériques, la pérennité de leurs œuvres est souvent confrontée à la rapide évolution des supports et des outils, soulevant des questions cruciales sur la conservation et la préservation de ces expressions artistiques avant-gardistes.

Obsolescence Technologique :

L'une des principales difficultés réside dans la rapidité avec laquelle les technologies évoluent, rendant obsolètes les logiciels, matériels, et formats de fichiers utilisés pour créer des œuvres numériques.

Exemple : Les œuvres créées avec des logiciels obsolètes, telle que "The Night Cafe" de David Kraftsow, illustrent le défi de rendre ces créations accessibles malgré l'obsolescence.

Vulnérabilité aux Pannes Techniques :

Les œuvres numériques sont sujettes aux pannes matérielles, aux défaillances de stockage, et aux pertes de données, nécessitant des solutions robustes de sauvegarde et de récupération.

Exemple : "Growth Model" de Casey Reas pourrait être vulnérable aux pertes de données, soulignant l'importance d'une sauvegarde régulière.

Changements dans les Standards de Fichiers et de Formats :

L'évolution des standards peut rendre les œuvres incompatibles avec les futurs systèmes, demandant des migrations complexes sans perte de qualité.

Exemple : La migration des œuvres de réalité virtuelle vers de nouveaux standards doit être effectuée avec soin pour préserver l'expérience artistique originale.

Gestion des Métadonnées :

La conservation efficace des œuvres dépend souvent de métadonnées détaillées, documentant les spécificités techniques et artistiques. La gestion continue de ces métadonnées est cruciale.

Exemple : Les métadonnées d'une œuvre interactive doivent être actualisées pour refléter les modifications apportées à l'interface utilisateur.

Évolution des Interfaces Utilisateurs :

Les œuvres interactives dépendent souvent d'interfaces utilisateur spécifiques, rendant essentiels les ajustements pour préserver l'expérience artistique originale.

Exemple : Une mise à jour de système d'exploitation peut altérer l'interaction prévue dans une œuvre, exigeant des ajustements pour maintenir l'intention artistique.

Droits d'Auteur et Propriété Intellectuelle :

La gestion des droits est complexe, surtout avec l'émergence des NFT, exigeant une attention particulière pour éviter la contrefaçon.

Exemple : Les œuvres vendues sous forme de NFT nécessitent des mécanismes de gestion des droits pour protéger l'authenticité de l'œuvre.

Conservation des Composants Matériels :

Certaines œuvres sont liées à des composants matériels spécifiques, la conservation de ces composants peut être difficile, surtout lorsque des pièces de rechange ne sont plus disponibles.

Exemple : Les œuvres intégrant des écrans spécifiques peuvent nécessiter la préservation de ces écrans pour maintenir l'expérience originale.

Éthique de la Restauration Numérique :

La restauration d'œuvres numériques endommagées soulève des questions éthiques, les conservateurs doivent décider de la manière de restaurer une œuvre tout en préservant l'intention artistique.

Exemple : La restauration de « The Persistence of Chaos » de Guo O Dong nécessiterait des décisions éthiques pour maintenir l'intégrité de l'œuvre.

Financement et Ressources Limitées :

La conservation des œuvres d'art numériques nécessite des ressources financières et humaines importantes, les institutions peuvent être confrontées à des contraintes budgétaires.

Exemple : Des projets de conservation à grande échelle peuvent nécessiter des investissements substantiels, limitant la portée des institutions avec des ressources restreintes.

Formation et Éducation Continues :

La rapidité des évolutions technologiques demande une formation et une éducation continues pour les conservateurs, afin de rester à jour sur les meilleures pratiques de conservation et les nouvelles technologies émergentes.

Exemple : Des formations régulières sont nécessaires pour que les conservateurs puissent comprendre et utiliser les dernières technologies de conservation.

La conservation des œuvres d'art numériques s'avère être un dialogue continu entre l'innovation et la préservation. En déployant des stratégies novatrices, en relevant les défis spécifiques liés à la pérennité, et en s'appuyant sur des exemples concrets d'œuvres emblématiques, les institutions artistiques et les conservateurs créent un avenir où le patrimoine artistique numérique peut transcender les frontières temporelles, offrant ainsi une expérience riche et significative aux générations futures.

Bibliographie :

NAZRA Hamidou

[ameliea1]

Exposiciones (extracto de apuntes)

ICANN:

Establecida en 1998 como una entidad sin fines de lucro, ICANN se dedica a la asignación de nombres de dominio y direcciones IP. Su objetivo principal es garantizar la singularidad de cada página web y prevenir la duplicación de nombres.

Consortium:

Fundado en 1990, este consorcio se enfoca en establecer estándares para el almacenamiento. SNIA, una entidad dentro del Consortium, se dedica al desarrollo. Entre los beneficios que ofrece...

W3C (World Wide Web Consortium):

Responsable de definir estándares para la web, el W3C ha desarrollado protocolos que han tenido un impacto significativo en empresas como Amazon Web Services.

Web 1.0:

En sus primeros días, se fundamentaba en HTML y ofrecía información estática. Las páginas se dedicaban principalmente a proporcionar datos.

Web 2.0:

Marcó un cambio hacia la interacción del usuario, la colaboración en línea y el intercambio de contenido entre usuarios. Surgieron aplicaciones como Wikipedia y Facebook, transformando internet en una zona de trabajo.

Web 3.0:

Conocida como la web semántica, permite a los usuarios proteger sus datos, decidir sobre la compartición de información y personalizar su espacio. La inteligencia artificial desempeña un papel crucial. Aunque presenta beneficios como mayor control sobre datos y privacidad, también enfrenta desafíos como la complejidad tecnológica y la limitada accesibilidad.

Net Art:

Un término que abarca las propiedades y características del arte en la red, experimentó su auge en los años 90, permitiendo a las personas crear arte en línea.

Características:

Democracia en la creación artística, acceso amplio al arte y fomento de la colaboración y participación. Distinción entre Net Art, visible desde cualquier dispositivo, y el Arte Computacional, que requiere visualizarse en formato físico.

Pioneros:

Jodi creó sitios con estética de glitch, aparentando ser afectados por malware. Olia Lialina utilizó líneas de código de páginas web para su arte, y Heath Bunting destacó en los años 80 con obras que fusionan el arte y la tecnología.

El Soporte de las Comunicaciones Digitales

Pixel:

La unidad básica de medida en el universo computacional e informático, sin existencia física. Se respalda mediante las pantallas, y todos los píxeles tienen el mismo tamaño, variando solo en color. Están compuestos por puntos rojos, verdes y azules que se combinan para crear colores.

Pixel Art:

Un estilo de ilustración e imágenes formadas por píxeles, donde se busca que estos sean visibles. Similar al puntillismo en el arte, como el utilizado por Georges Seurat. Los píxeles de 8 bits y 16 bits eran comunes en juegos antiguos y siguen siendo relevantes.

Tipos de Pantallas:

- CRT (Cathode Ray Tube): Presentes en las primeras computadoras.

- LCD (Liquid Crystal Display): Utilizan líquidos.

- LED (Light Emitting Diode): Emiten más luz.

- OLED: No requieren luz adicional, con píxeles independientes.

Tecnologías de Pantallas:

- VA: Bueno para películas y juegos, con negros profundos.

- IPS: Funciona para diseño gráfico, arte digital y edición de videos, maneja perfiles de colores universales.

Diseño Responsivo:

Se adapta a diferentes tamaños de pantalla (celular, escritorio, tablet).

Resolución:

El tamaño de pantallas e imágenes en relación con la cantidad de píxeles (720p). Los celulares pueden tener una mayor resolución que los televisores.

Relación de Aspecto:

Sin una medida específica, todas tienen una relación de unidades (por ejemplo, 16:9).

Imágenes:

- Vector: Creadas mediante algoritmos matemáticos, ideales para ilustraciones, logos y tipografías.

- Bitmap: Utilizan píxeles y representan imágenes como fotos y videos.

Historia de la Internet:

- Inicios durante la era de las redes sociales.

- Desarrollo de IPv4 en 1981 y la introducción de IPv6 como su versión posterior.

Red de Redes (Segunda Mención):

- El mundo contemporáneo se encuentra más entrelazado, donde la red de redes actúa como un puente digital.

- Sistemas de interconexión y flujo de datos, abarcando redes de área local (LAN) para áreas geográficas más limitadas, como oficinas.

Evolución de las Redes:

1. Inicialmente, las computadoras operaban de manera aislada.

2. Desarrollo de redes locales (LAN).

3. Emergencia de Internet como la red de redes, caracterizada por su descentralización y accesibilidad.

Funcionamiento de Internet:

- Utilización de IP para dispositivos conectados.

- Enrutadores dirigen el tráfico de datos.

Consecuencias:

Positivas:

- Generación de oportunidades laborales y creación de nuevos puestos.

- Facilitación del comercio electrónico.

- Acceso instantáneo a la información.

- Comunicación global instantánea.

Negativas:

- Vulnerabilidad y amenazas en línea.

- Preocupaciones sobre privacidad y recopilación de datos.

- Presencia de contenido no deseado.

- Desigualdades digitales debido a la falta de acceso.

Impacto en la Sociedad:

- Facilitación en la comunicación, obtención de información y comercio.

- Surgimiento de dinero virtual.

Conclusiones:

- La evolución constante de Internet genera nuevas oportunidades y herramientas.

- La importancia de un uso adecuado de Internet para maximizar sus beneficios.

Grupo 4: Guerra de Navegadores y Motores de Búsqueda

Definición de Navegador:

Un navegador web es un programa que interpreta el código de una página web, generalmente HTML, y presenta su contenido en pantalla, permitiendo al usuario interactuar con la información y navegar por la web.

Tipos de Motores de Búsqueda:

1. Buscadores Jerárquicos (Arañas o Spiders): Exploran la web de manera automática.

2. Directorios: Organizan sitios web en categorías.

3. Buscadores Verticales: Especializados en áreas específicas.

4. Metabuscadores: Recopilan resultados de varios buscadores.

5. FFA Enlaces Gratuitos Pequeños Enlaces Temporales: Plataformas de enlaces temporales gratuitos.

Primeros Navegadores:

1. Archie (1990) y Gopher (1991): Inicios de la navegación web.

2. Web Crawler (1994): Primer motor de búsqueda universitario.

Navegadores Destacados:

1. Netscape (1994): Facilitó transacciones en línea.

2. Opera (1995): Enfocado en rapidez.

3. Yahoo (1995), Internet Explorer (1995), Mozilla Firefox (1998-2002), Google Chrome (2008), Safari (2003): Diversidad de opciones.

4. Microsoft Edge (2015): Sucesor de Internet Explorer.

5. DuckDuckGo: Destaca por privacidad.

6. Yandex: Mayor empresa tecnológica de Rusia.

7. Ask, Quora: Plataformas de preguntas y respuestas.

8. Opera GX: Enfocado en gaming, optimización y bloqueo de publicidad.

La Guerra:

La competencia entre navegadores se ha intensificado a lo largo del tiempo, destacando características como privacidad, rendimiento y enfoque en áreas específicas. Mientras algunos han dejado de recibir mantenimiento, otros han emergido para captar usuarios, manteniendo la evolución constante en el mundo de la navegación web.

Distinción entre Navegador y Buscador:

El navegador (como Chrome o Safari) es el programa que interpreta y muestra la información de las páginas web, mientras que los buscadores (como Google, Yahoo o Bing) son sitios web que prestan servicios para buscar información en la red, actuando como guías para encontrar otras páginas web.

[preenchimentosensivel]

comecei a tomar o fitoterápico de forma consistente pra ansiedade. é difícil dizer se é ele deixando meu corpo mole ou o calor de 39 graus. ficar doente nesse calor foi bem frustrante, mas hoje acordei melhor. no final de semana assisti bottoms com a milena e no hard feelings sozinho. li coisas pra faculdade, li esse texto da olia lialina. momentos bons de silêncio. depois de 2 dias sem passear com a bibe, ontem eu desci de noitinha e sentimos o vento, tava prestes a chover. foi bom.

[zamjhon]

Exposiciones

Grupo 1:

ICAAN, W3C y CONSORTIUM

ICAAN: Fundada en 1998 como organización sin fines de lucro, ICAAN se encarga de asignar dominios y direcciones IP.

W3C: También conocido como Word Wide Consortium, desarrolla protocolos que han tenido un impacto significativo en empresas.

Consortium: Creado en 1990, se dedica a promover servicios para el almacenamiento.

Grupo 2:

Web 1.0, 2.0 y 3.0

Web 1.0: Centrada en HTML y ofrecía información estática.

Web 2.0: Introdujo aplicaciones como Facebook y Wikipedia.

Web 3.0: Presenta beneficios como mayor control con datos y privacidad, además de la presencia de inteligencia artificial, pero con desventajas como limitada accesibilidad.

Grupo 3:

Net Art

Net Art: Surgió en los años 90 y permitió a las personas crear arte en línea.

Características: Ofrece amplio acceso al arte, fomenta la colaboración y participación.

Pioneros: Jodi creó sitios con estética de glitch, Olia Lialina utilizó líneas de código para sus artes, y Heath Bunting fusionó arte y tecnología en los años 80.

Grupo 4:

Guerra de navegadores y motores de búsqueda

Definición de navegador: Es un programa que interpreta el código de una página web en HTML.

Tipos de motores de búsqueda: Incluyen buscadores jerárquicos, directorios, buscadores verticales, metabuscadores y FFA (enlacen gratuitos pequeños enlaces temporales).

Distinción entre navegador y buscador: El navegador representa la información de la página web, mientras que los buscadores son sitios que ofrecen servicios para buscar información en la red.

Grupo 5:

Redes Sociales

Historia: Desde ARPANET en 1969 hasta plataformas modernas como TikTok en 2018 y Bereal en 2020, las redes sociales han evolucionado con diferentes enfoques.

Evolución: Cada plataforma, desde Sixdegrees hasta Instagram, ha introducido nuevas formas de interacción y consumo de contenidos.

Grupo 6:

Deep Web y Dark Web

Definición: La dark web constituye la parte oculta del internet y solo es accesible con navegadores especializados.

Propósito: Su existencia se debe a la búsqueda de anonimato para realizar actividades de manera discreta, ya sean correctas o incorrectas.

Usos Principales: Incluyen acceso a información no disponible en motores de búsqueda normales, comunicación y anonimato seguro, y comercio electrónico de manera anónima.