Mass Effect: Art and the Internet in the Twenty-First Century (Critical Anthologies in Art and Culture)
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Since the turn of the millennium, the Internet has evolved from what was merely a new medium to a true mass medium -- with a deeper and wider cultural reach, greater opportunities for distribution and collaboration, and more complex corporate and political realities. Mapping a loosely chronological series of formative arguments, developments, and happenings, Mass Effect provides an essential guide to understanding the dynamic and ongoing relationship between art and new technologies.
Mass Effect brings together nearly forty contributions, including newly commissioned essays and reprints, image portfolios, and transcribed discussion panels and lectures that offer insights and reflections from a wide range of artists, curators, art historians, and bloggers. Among the topics examined are the use of commercial platforms for art practice, what art means in an age of increasing surveillance, and questions surrounding such recent concepts as "postinternet." Other contributions analyze and document particular works by the artists of And/Or Gallery, Cory Arcangel, DIS, Cao Fei, the Radical Software Group, and others.
Mass Effect relaunches a publication series initiated by the MIT Press and the New Museum in 1984, which produced six defining volumes for the field of contemporary art. These new volumes will build on this historic partnership and reinvigorate the conversation around contemporary culture once again.
Copublished with the New Museum of Contemporary Art, New York
ContributorsCory Arcangel, Karen Archey, Michael Bell-Smith, Claire Bishop, Dora Budor, Johanna Burton, Paul Chan, Ian Cheng, Michael Connor, Lauren Cornell, Petra Cortright, Jesse Darling, Anne de Vries, DIS, Aleksandra Domanović, Harm van den Dorpel, Dragan Espenschied, Rózsa Zita Farkas, Azin Feizabadi, Alexander R. Galloway, Boris Groys, Ed Halter, Alice Ming Wai Jim, Jogging, Caitlin Jones, David Joselit, Dina Kafafi, John Kelsey, Alex Kitnick, Tina Kukielski, Oliver Laric, Mark Leckey, David Levine, Olia Lialina, Guthrie Lonergan, Jordan Lord, Jens Maier-Rothe, Shawn Maximo, Jennifer McCoy, Kevin McCoy, Gene McHugh, Tom Moody, Ceci Moss, Katja Novitskova, Marisa Olson, Trevor Paglen, Seth Price, Alexander Provan, Morgan Quaintance, Domenico Quaranta, Raqs Media Collective, Alix Rule, Timur Si-Qin, Josephine Berry Slater, Paul Slocum, Rebecca Solnit, Wolfgang Staehle, Hito Steyerl, Martine Syms, Ben Vickers, Michael Wang, Tim Whidden, Anicka Yi, and Damon Zucconi
computer education, and begin to see themselves as the avant-garde of digital culture again. The domain of the digital must belong to users, not just those who admire computing power. The networked personal computer must be regarded as a medium with a cultural history shaped more by its users and less by its inventors. Then hopefully a reasonable relationship between users and their medium can be restored. Studying Digital Folklore instead of seeking ways to exploit how users behave can help us
Museum. Titled “Software,” the exhibition included works by John Baldessari, Robert Barry, Hans Haacke, Nam June Paik, and Lawrence Weiner, among others. The techno-utopianism of Burnham’s curatorial and critical propositions, transmitted through a series of essays in Artforum like “System Esthetics” from 1968, while forward-thinking at the time, anticipated an art world immersed in solidly technical pursuits like engineering and industry. According to art historian Caroline Jones, who has
Last—Net artists active in between dot.com crash and web 2.0 rise … The 3rd—Artists working with the www as mass medium, not new medium (04 June 12: If I’m not mistaken a misleading “post-internet” term used for this now)1 She goes on to say “All generations, except ‘the last’ are not necessarily connected to a certain period of time,” and then sums up with a quote from the Curator of Digital at the Serpentine Gallery that articulates a new category called “early post-internet”: “Most of early
constructed horror in their archiving of impending disaster, perhaps kicked off by the snap of the aperture. These bodies were taken out of circulation in the economy of signs to which they belonged—in effect taxonomized like a beloved stuffed pet—in order to be preserved. The same can be said of the family photos that now populate the “found” genre and that signify death by alluding to the inevitable passing of time. These images circulate in excess. Their value may be the inverse of 162 /