Noah Travis Phillips "Rhizomatic Remediation: Adaptation in a Web-Based Art Praxis During Time(s) of Crises"
Right off the bat, I thought it was fascinating to read your (Noah Phillips’) own personal research. Thus far in the class, you have been so great at supplying us students with all sorts of outlets to be creative and have introduced us to artists all over the world to inspire us. It is so much fun for me to dive into what you find interesting and the work you do outside of teaching. With that being said, I noticed that many projects outlined in this PDF have parallels between life AFK and digital art. Most notable for me, the RPG project is a digitally virtual but also includes layers of physicality which is a common theme we’ve been exploring thus far in the course. I appreciate how this work has intention to comment on real societal issues (racism, environment, pandemic, etc.) and I would like to apply the same intention into my final project. I love how RPG essentially opens up opportunity for more voices to be heard and more ideas to be spread. To me, this is why I am so intrinsically interested in art in the very purest form. It seems as though the work done here is inclusive and informative rather than stationary and systematic.
"What Is Post-Internet Art? Understanding the Revolutionary New Art Movement"
Before reading this article, I honestly was very confused on the term "post-internet” art. This term makes it seem that we have escalated so far as a society that online internet art is something we are moving up and away from. Truth is, thank god, we are not even close to this point yet. Rather, this term is just referring to the movement that involves both digital and real-world art in a collaborative context. For example, I crafted a piece of digital art and projected it into society somehow through non-digital vehicles, I would be a post internet artist. This article made me question, do people in today’s modern society interact more with digital or IRL artwork? In other words, are people more likely to dissect the meaning of a piece of art and really sit with the intention of it if it is in front of their face in person, or behind their screen? I feel as though people the accessibility of internet art is so extremely easy compared to tangible art work that perhaps people are more mindful of the art when it’s in person? I do not have an answer to this, and my own opinion is totally skewed as a student in the EDP department, but this article did make me question this. Oliver Laric’s art regarding the distinction between real and fake also adds to my curiosity here. Is tangle art perceived as more “real” than digital art? Why?
Marisa Olson, "Postinternet: Art After the Internet", Foam Magazine 29, Winter 2011
I liked how in this article, post-internet art is not distinguished as strictly digital art, but instead, it can be identified as any art that was every influenced by digital media. This is interesting to me because all of a sudden, I have become a post-internet artist. Prior to this particular class, I have done countless of tangible art pieces (prints, drawings, wood cravings, etc.) that had been inspired by my consumption of the current news and general media topics that I somewhat unwillingly consume. It seems as though the term post internet encompasses new media all the time, so the definitions and boundaries are always everchanging and shifting. A lot of this article was quite hard for me to grasp, so I am excited to see how other people inferred these concepts in our class discussion on Tuesday.
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