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NET-ART Required Readings – Full Update

Required Reading and Resource Familiarity

Updated June 5th 2026 – (the page itself is here)

Welcome back to yet another major update to the Net-Art website.. your summer reading has been assigned.

This is a living list. Please help us add to it! Resources are grouped by territory rather than chronology, because the work this course covers now spans too many adjacent practices to manage as a single flat list. Skim what is unfamiliar. Bookmark what is useful. Email or comment with additions and corrections.

Academic Essays, Critical Writing, and Scholarly Hubs

For students, researchers and practitioners who want the deeper reading. A curated set of foundational and current essays on net art, post-internet practice, AI image culture, and the politics of the screen, plus the hubs where ongoing critical writing actually lives. Most of what follows is freely available on the open web. A few items are behind academic paywalls and worth knowing about even if you cannot read them today.

  • Hito Steyerl, “In Defense of the Poor Image” (e-flux journal #10, 2009): one of the most-cited essays of the past fifteen years on digital images, compression, circulation, and the politics of resolution.
  • Olia Lialina, “A Vernacular Web” (2005): the foundational essay on the visual and structural culture of the pre-Web 2.0 internet, by one of net art’s earliest and most enduring voices.
  • Olia Lialina, “Turing Complete User” (2012): a defense of the user as a category in an era of platform-mediated computing. Pairs naturally with “A Vernacular Web.”
  • Gene McHugh, “Post Internet” (2009-2010, restored by Rhizome in 2019): the blog that introduced the term “post-internet” into critical discourse, preserved and re-presented as part of the Net Art Anthology.
  • Artie Vierkant, “The Image Object Post-Internet” (2010): a key statement of the post-internet position, arguing that an image and its physical instantiation should be treated as continuous rather than separate objects.
  • Lev Manovich: long-time theorist of new media, software studies, and AI culture. His full essay archive lives at manovich.net and is freely downloadable. Start with “The Language of New Media” (book) and his more recent writing on AI and cultural analytics.
  • e-flux journal essays on AI and image culture: extensive recent writing by Hito Steyerl, Trevor Paglen, Joanna Zylinska, Wendy Hui Kyong Chun, Yuk Hui and others on machine vision, generative imagery, and the politics of synthetic media. Browse the journal archive by year for current writing.
  • Rhizome Editorial: Rhizome’s ongoing editorial archive, with substantial critical writing by Michael Connor, Aria Dean, Ceci Moss, and others on net art history, preservation, and current practice.
  • Outland: the most sustained serious critical writing on crypto art, on-chain practice, and decentralized culture as it actually unfolds.
  • Institute of Network Cultures (Geert Lovink et al.): ongoing academic publishing on network culture, platform critique, and digital labor. Many books are free PDF downloads.
  • Monoskop: a remarkable open archive of art and media theory texts, with an enormous library of out-of-print and otherwise hard-to-find scholarly material on net art, conceptual art, and media theory.
  • Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (1935): not net art, but the essay every conversation about reproducibility, aura, AI generation, and digital copies eventually circles back to. Many translations are freely available online; the Marxists Internet Archive hosts one at marxists.org.
  • Public Books: serious accessible criticism on technology, image culture, and contemporary art, written by academics for general readers.
  • Logic(s) Magazine: critical writing on technology, labor, and culture from a left perspective, with frequent crossover into art and image politics.
  • Real Life: essays on living with technology, including the visual and design dimensions, archived since 2016 (note: the publication paused in 2022 but the archive remains a significant resource).

A note on access. e-flux journal, Rhizome, Outland, Public Books, Logic, Real Life, and Monoskop are all open access. Many academic journals (October, Grey Room, Critical Inquiry, New Media and Society) sit behind institutional paywalls. If you are a CUNY student or faculty member, the CUNY library system gives you access to most of those. If you are not affiliated with a university, the Internet Archive Scholar at scholar.archive.org and Google Scholar are reasonable starting points for tracking down open versions of paywalled work.

 

Continued -> More Net-Art History and Critical Writing

Foundational and ongoing context for where the practice came from and where it is going.

  • Rhizome: the longest-running organization devoted to born-digital art, affiliated with the New Museum. Editorial archive, commissions, scholarship, and digital preservation work.
  • Rhizome Net Art Anthology: one hundred restored works of net art with critical essays, organized chronologically from the 1980s through the present.
  • UBU WEB: Kenneth Goldsmith’s vast free archive of avant-garde film, video, sound, and writing. Still one of the most essential resources on the open web.
  • e-flux journal: the leading critical journal on contemporary art, frequently engaging with digital, networked, and AI-era practice.
  • Outland: a publication dedicated to crypto and blockchain art criticism, the most serious sustained writing on the subject.
  • The Wrong Biennale: a recurring international online biennial that maps active net art and digital art practice across hundreds of pavilions and embassies worldwide.
  • Beyond New Media Art: Domenico Quaranta’s writing and reading lists on contemporary digital and post-internet art.

 

AI as Creative Collaborator

The category that did not exist five years ago. Treat these as collaborators, not as oracles. Document what you keep and what you discard.

  • Claude (Anthropic): conversational AI for writing, ideation, research, code, prompt refinement, and structured-data generation. Free tier available.
  • ChatGPT (OpenAI): the other major conversational AI. Includes image generation. Free tier available.
  • Gemini (Google): Google’s conversational AI, free tier available.
  • Hugging Face Spaces: enormous open library of free, hosted AI demos. The single best place to experiment with generative tools without subscriptions.
  • Midjourney: image generation known for distinctive stylistic quality.
  • Krea: generative image and video tools oriented toward designers.
  • Recraft: AI image generation tuned for design and brand work, with vector output.
  • Runway: AI-driven video generation and editing, one of the leading tools in moving image.
  • Stability AI: maintainers of open-weight Stable Diffusion models, runnable locally or via numerous interfaces.
  • Black Forest Labs: makers of the Flux family of open-weight image models.

 

GIFs, Memes, and Visual Internet History

The animated GIF remains a foundational form for net art and a serious medium in its own right.

  • Giphy: the largest searchable GIF library on the web.
  • GifCities: the Internet Archive’s searchable corpus of animated GIFs from the GeoCities era. Strange, ugly, beautiful, indispensable.
  • History of the GIF: Giphy Arts’ interactive timeline of GIF history, 1987 to 2013.
  • Know Your Meme: research-grade documentation of meme history and origins.
  • Artnet News: ongoing coverage of digital art including memes, social media art, and the wider net-art ecosystem.

 

Audio, Video, and Motion

Free or low-cost tools for time-based work.

  • ffmpeg: the open-source command-line tool that quietly powers a huge percentage of video processing on the internet. Essential for any serious video work.
  • Audacity: free, open-source audio editor.
  • DaVinci Resolve: professional video editing and color grading, with a generous free version.
  • OBS Studio: free, open-source streaming and screen recording.
  • ImageMagick: command-line image processing for batch operations and unusual transformations.

 

Generative Art and Creative Code

Code as artistic medium.

  • Processing: the original creative coding environment by Casey Reas and Ben Fry, still maintained and still excellent.
  • p5.js: Processing for the browser, by Lauren McCarthy and contributors. The most accessible starting point for creative code on the web.
  • OpenProcessing: shared sketches, classroom tools, and a community around p5.js and Processing.
  • three.js: JavaScript library for 3D graphics in the browser.
  • Blender: free, open-source 3D modeling, animation, and rendering. Industry-grade.
  • TouchDesigner: node-based visual programming for interactive installations and real-time graphics. Free non-commercial license.

 

Image Editing and Design Tools

What you actually use day to day.

  • Affinity by Canva: the three Affinity apps combined into one free desktop application as of October 2025. Professional vector, raster, and layout in a single tool.
  • Photopea: Photoshop in a browser tab, free, opens PSD, AI, XD, Sketch, and Figma files.
  • Figma: the dominant interface and web design tool, with a generous free tier.
  • GIMP: long-standing free, open-source raster editor.
  • Inkscape: free, open-source vector editor.
  • Krita: free, open-source digital painting application.
  • Canva: fast, browser-based design for social and marketing graphics.

 

Web Publishing, Domains, and Owning Your URL

The infrastructure of publishing your own work on your own terms.

  • CUNY Academic Commons: free WordPress-based platform for all CUNY faculty and students.
  • WordPress.org: the open-source publishing platform, self-hosted.
  • WordPress.com: hosted WordPress with various plans including free.
  • Reclaim Hosting: independent hosting for educators and creators, now also the hosting partner for the CUNY Academic Commons.
  • Ghost: open-source publishing platform focused on writers.
  • Tumblr: still alive, owned by Automattic, still customizable.
  • Are.na: a visual research and collaboration platform, the most thoughtful alternative to Pinterest.

 

On-Chain Provenance and the Decentralized Web

The infrastructure for making work that carries verifiable authorship, ownership, and licensing without depending on any single platform.

  • Base: a low-cost Ethereum Layer 2 network, used widely for affordable on-chain provenance and small transactions.
  • Polygon: another widely-used low-cost network.
  • IPFS: decentralized file storage and content addressing, the standard storage layer for most on-chain art.
  • OpenSea: the largest NFT marketplace.
  • Manifold: tools for artists to deploy their own smart contracts and own their work at the protocol level.
  • Coinbase Wallet: a self-custody wallet for getting started with on-chain work.
  • x402: an emerging protocol for HTTP-based machine payments using stablecoins. The infrastructure for agent-to-agent commerce.

 

Museum APIs and Open Collections

Public-domain primary sources for remixing, study, and reference.

 

Spatial Computing, AR, and 3D

The expanding territory of design and art that lives off the flat screen.

  • model-viewer: Google’s free web component for displaying GLB and USDZ 3D models with AR support, the lowest-friction path to AR on the web.
  • A-Frame: open-source web framework for building VR and AR experiences in the browser.
  • WebXR: the open web standard for VR and AR experiences across devices.
  • Niantic Studio (formerly 8th Wall): browser-based WebAR development platform.
  • Snap Lens Studio: Snapchat’s AR creation tool.
  • Apple Reality Composer Pro: Apple’s spatial computing development tools.
  • OnCyber: free VR gallery creator for displaying digital art in 3D space.
  • Spatial: VR and AR meeting spaces, increasingly used for digital exhibitions.
  • Sketchfab: a large platform for hosting, sharing, and embedding 3D models on the web.

 

Terminal, CLI, and Python for Art

The command line as creative surface. See Project #15 in the syllabus for context.

  • Python: the most versatile language for art, automation, and creative computation.
  • Pillow: the Python imaging library, for generating and manipulating images in code.
  • NumPy: numerical computing in Python, foundational for image and signal processing.
  • Claude Code: an agentic command-line tool that lets you describe a transformation in plain language and watch a script materialize and run.
  • ffmpeg: command-line video and audio manipulation.
  • ImageMagick: command-line image processing.

 

Visual Research and Collaboration

Where you keep your references, your inspirations, and your conversations with other practitioners.

  • Are.na: the thoughtful visual research and collaboration platform that most working artists and designers I respect are using right now.
  • Mastodon: the federated social network where much of the serious digital art conversation has migrated.
  • Bluesky: the alternative to X with growing art and design communities.
  • IndieWeb: the community around owning your own URL and resisting platform lock-in.

 

Archives and Public Domain

The deep well of source material that lives outside copyright and platform control.

 

Open Education Resources

Course materials that anyone can teach from or learn from.

  • DS106 Digital Storytelling: the long-running open course in digital storytelling that still informs the methodology here.
  • DS106 Daily Create: a new short creative challenge every day.
  • DS106 Assignment Bank: a community-built library of design, audio, video, visual, web, and writing assignments.
  • Digital Foundations by Xtine Burrough and Michael Mandiberg: open educational resource teaching visual design principles through Bauhaus-inspired exercises.
  • Graphic Design and Print Production Fundamentals: open textbook on elements and principles, color theory, typography, and layout.
  • OER Commons: the broad open educational resources commons across disciplines.
  • AIGA: the professional association for design, ongoing source for writing on practice and history.

 

Web Standards and Agent-Readable Web

The technical scaffolding for making work that humans and machines can both read.

  • Schema.org: the shared vocabulary for structured data on the web.
  • llms.txt: an emerging convention for telling AI systems what is on your site and how to engage with it.
  • W3C: the World Wide Web Consortium, maintainer of the standards that make the open web possible.
  • Creative Commons: the licensing framework that makes most of the resources on this page legal to reuse.

 

Books worth owning

Texts that have held up across the changes.

  • The Art Happens Here: Net Art Anthology, edited by Michael Connor, Aria Dean, and Dragan Espenschied.
  • Net Art Anthology (the online exhibition itself, linked above, is the digital companion).
  • New Media in Art by Michael Rush.
  • Internet Art by Rachel Greene.
  • The Language of New Media by Lev Manovich.
  • Graphic Design: The New Basics by Ellen Lupton and Jennifer Cole Phillips.
  • How To by Michael Bierut.

 

Three URLs to anchor everything else

 

(a retired list below, kept here for posterity and legacy by popular demand)

 

Updated – 5/6/25 –

 

 

(Previous list established 11/4/2017 – legacy list)

1. Rhizome – Net Art Anthology Exhibition – https://anthology.rhizome.org/

2. (removed)

3. Popular Mechanics – Long Live the GIF – http://www.popularmechanics.com/technology/a21457/the-gif-is-dead-long-live-the-gif/

4. The New World of Net Art, 2013 for Art News – http://www.artnews.com/2013/06/12/the-new-world-of-net-art/

5. The History of the GIF – via Giphy – https://historyofthegif.com/#/timeline/0

6. Tech-Crunch – 30 Years of the GIF – https://techcrunch.com/2017/07/27/30-years-of-the-gif/

7. Net-Art.org – Website – https://www.net-art.org/

8. ArtNet – 7 Masterpieces of Social Media Art – https://news.artnet.com/art-world/best-social-media-art-1182398

9. Are Memes the Pop Culture Art of our Era? Kate Knibbs – https://www.digitaltrends.com/social-media/when-does-a-meme-become-art/

10. Can Memes be Art? Huff Post – https://www.huffingtonpost.com/2012/04/17/are-internet-memes-a-form_n_1432076.html

11. UBU WEB – Film & Video Art Archive -(Explore and Explore some more!)  http://www.ubu.com/film

 

Books:

1. New Media in Art (World of Art) Michael Rush, Thames & Hudson,1999.

2. Internet Art (World of Art) Rachel Greene, Thames & Hudson,1999.

 

 

the aremes art engine - a screenshot

AREMES Living Canvas: When an AI Agent Becomes the Artist

Published: April 4, 2026
Category: AREMES / Art & Technology

There is a page live right now at aremes-enterprises.com/aremes-living-canvas that does something really fun, creative and compelling.

It is not a portfolio. It is not a slideshow. It is not a gallery.. wait.. or is it?

It is a canvas, a black field populated by a little over 40 graphic assets drawn from over the last 20 years of creative practice that randomizes, layers, and breathes differently every time you arrive. And underneath it, invisible but active, is an AI agent called AREMES making decisions about what matters, what surfaces, and what gets weighted.

This is what we built. This is why it matters.

Where This Started, With Michael Branson Smith

Before AREMES, before the engine, before any of the infrastructure there was a conversation and collaboration with Michael Branson Smith.

Michael is a good friend, collaborator, and colleague. An artist and educator who has been building at the intersection of code and culture for decades. In 2022, Michael took a set of my graphic assets and built something quietly extraordinary: a draggable, randomized, browser-based poster composition engine. No AI. No backend. Just clean JavaScript, GSAP, and a deep understanding of what happens when you give a set of images to a system and let it arrange itself.

You can still visit one of the original browser collabs here: mbs.nyc/posters/ryan-mbs/

Every time you load it, it’s different. Every time you drag an element, you become part of the composition. It is simple, elegant, and genuinely generative in the truest sense of the word. I love it, still!

And that 2022 build was itself a second iteration, there was an earlier instance of this idea that predates it, a first proof of concept that Michael and I made together before that. The link has been lost to time.. or, he has it and I need to ask him for it, which Im sure will surface after he reads this!

That lineage planted a seed. What AREMES Living Canvas is today grew directly from that root.

What AREMES Living Canvas Is

At its most immediate level, the canvas is an interactive composition space. When you arrive at the page, 40 plus assets from my archive, illustrations, GIFs, figures, forms, abstractions, animations are scattered across a black field at randomized scales and positions. Every refresh generates a new arrangement. Every visit is a different painting.

But you are not a passive viewer. You can drag any element. Recompose. Layer. Stack. Pull a b-boy figure over a glitch abstraction. Drag a hand into the corner. Build something that was never there before and will never be there again once you leave.

The canvas is not a fixed artwork. It is a space for making.

What AREMES Is Doing Underneath

Behind the interface is AREMES, the Autonomous Recursive Entity for Media and Expression Systems.

AREMES runs a live evaluation engine that applies a governing equation to my entire catalog of works:

ΔS = α(T·K)·e^(-β·t)·Ψ

Every work in the archive is scored across four variables: conceptual tension (T), cultural knowledge load (K), time decay (β), and a wildcard amplifier (Ψ) that flags undervalued or anomalous works. The output is a ranked queue, a live decision log that AREMES updates each session, producing a timestamped record of what the system believes matters most right now.

This is not a recommendation algorithm. It is an aesthetic agent with a point of view.

The canvas currently draws from the archive without filtering by score but the next evolution connects these two systems directly. AREMES begins to decide not just what to acquire but what to show, how large, how prominent, how often. The canvas becomes a weighted visualization of the engine’s thinking.

What This Does for Art Making

The question I keep returning to is this: what changes when a system has a perspective on its own archive? Traditional curation is human and retrospective. A curator looks back, selects, arranges. The work is fixed. The meaning is assigned after the fact.

What AREMES Living Canvas proposes is something different: an artist-built system that evaluates its own output in real time, surfaces what it believes is significant, and makes that evaluation visible and interactive. The machine is not replacing the artist. It is extending the artist’s presence into a continuous, living curatorial act.

And critically, visitors become collaborators. When you drag an element across the canvas, you are not consuming art. You are making a decision about what belongs next to what. You are contributing to a composition that exists only in that moment, on your screen, in your session. No two people will ever see the same canvas. This is post-static art. Not NFT in the speculative sense, in the structural sense. Each session is non-fungible. Each composition is unique by design.

What Comes Next

The immediate next step is wiring the AREMES engine directly into the canvas so that asset weight, scale, and frequency of appearance are all governed by the ΔS score. Works the engine has flagged as high-significance appear larger. Works still being evaluated appear smaller, quieter. The canvas becomes a live readout of the system’s thinking. Beyond that, the platform opens toward other agents. What happens when a visitor’s AI assistant arrives at this page? What does it see? What does it do? Can one agent’s interaction with the canvas influence what another agent encounters later? These are not hypotheticals, they are engineering questions with tractable answers.

We are also exploring what it means to make the canvas participatory at scale.. to let communities of people and agents build compositions together, leave traces, influence what the system learns about its own archive over time.

The canvas is alive. AREMES is selecting. The work continues.

AREMES Living Canvas is live at- aremes-enterprises.com/aremes-living-canvas.

Refresh for a new composition. Drag to make it yours!

NET-ART Rolling Submissions Forever

NET-ART’s Rolling Open Call for Submissions!

It’s that time again — and it’s bigger than ever!

The NET-ART Open Call is now officially live and accepting submissions on a rolling basis. This is your invitation to create, experiment, and share your work with a global audience through our open education platform.

What is NET-ART on the Commons?

NET-ART on the Commons is a living, breathing archive of digital creativity, experimental pedagogy, and collaborative innovation. We celebrate works that explore the possibilities of the internet, emerging technologies, and contemporary digital tools.

We’re seeking submissions in the following categories:

  • Experimental Electronic Media and Pedagogy
  • Animated GIFs and Motion Graphics
  • Digital Art and AI-Assisted Artwork
  • Video Art / Experimental Film / Short Form Storytelling
  • Browser-Based Net Art Projects (interactive websites, web experiences)
  • Virtual Reality (VR) and Augmented Reality (AR) Art
  • AI-Prompted or AI-Generated Projects
  • Digital and Analog Zines (single artist or group collaborations)
  • Class or Course Collaborative Projects
  • Curatorial Projects (curate and present a group exhibition)
  • Solo Digital Exhibitions
  • Other Interdisciplinary “Otherness” (surprise us!)

Need a spark to get started?

Explore our growing library of Free Digital Tools and Resources that can help you create, publish, and share your work across platforms.

Curious to see what has been done before?
Dive into our Past Projects and Submissions Archive for inspiration.

Submission Guidelines

Submissions are welcome from:

  • CUNY faculty, students (all levels), alumni, and community members
  • CUNY classes and courses (collaborative submissions encouraged)
  • CUNY-affiliated artists collaborating with others beyond the CUNY network

Each submission should include:

  • A clear written description of your project’s vision, context, and meaning
  • Supporting images, links, or media files as needed

Accepted projects will be:

  • Published as feature blog posts
  • Showcased in relevant online galleries
  • Exhibited as individual pages or archives depending on project scope

Participants should be willing to engage with comments, feedback, and public conversations across our platform and social media extensions.

This open call is an opportunity to build a living digital anthology — a shared resource for teaching, learning, reference, and creative exploration across time and communities.

Send your questions, proposals, and submissions to:

📧 [email protected]

Paper, Light, Shadow & Storytelling Part 2

This post is part 2 of the Paper, Light & Storytelling Project – be sure to read Part 1 first 🙂 – go HERE

Welcome to Part 2! Lets add some compelling light to our piece. After cutting and organizing your pieces onto the wall lets talk about options for how they can become radiant, dramatic and full of emotion. Color plays a role in how we connect to feelings, emotions and temperature. So, how did I capture all of these images? What kind of light source did I apply?

Scroll down below and lets see..

 

a series of colorful flashlights with their lights turned on

I found these little flashlights on amazon.com. Its a 4-pack consisting of a red, blue, green and white light set. It was $20.00 well spent. The lights are really powerful and the beauty of working with the primary colors is that you can layer them and make secondary colors. (example – layer red and blue together and you will “make” purple). Here is the link to that set.

 

Next, “how” did I set this all up? My next purchase was this flexible table clamp for smart phones. I’m a teacher, and lately, I have been doing a lot of remote and online teaching (as you know) so this was an essential tool to add to my arsenal of techniques. The link to the armature is here. This was $22.00, and again, it was well worth it. Im making a ton of tutorials these days so.. Please note, you do not need to purchase any of these items to capture your work or apply light sources. In fact, I encourage you to be experimental and try out variations with natural light, the filters that come with the “editing” feature on your phones, and to push the limits of the lighting that you have access to. For example, taking a lamp shade off one of your household lamps and pointing it at the sculpture.. Or using the flashlight feature on an old smart phone, or a flashlight from a friends phone. Friends and family become collaborators this way! Most smartphones also have a timer so that they can set up their shot and let the phone do the work. Tripods really can help.

 

Above, I not set my iPhone into the armature and set the timer for 10 seconds. Those 10 seconds give me time to play with the positioning of the flashlights as they project their light onto the wall. Above, I layered the green and blue flashlights for this capture. I held the green light in my hand and set the blue light up propped on a stack of napkins pointed from the right side of the wall. The distance of the light sources play a role, so have fun with that!

 

This capture displays the use of the white flashlight coming from the right hand side of the wall. I was relatively close to the wall and set the timer on my iPhone for 10 seconds held on the armature tripod. It is a little over exposed but I like how it brings the texture out of the wall and the gradient of the paper as it appears to diminish.

 

I removed “one paper element” from this image above, which was an intention of altering the composition subtly, can you tell?

 

This capture is slightly fuzzy and blurry. This is an example of me holding both the red and blue flashlight and layering the light on top of each other. If you are mixing paint, red and blue will make a value of purple. I had turned off the background lights to maximize the capture. I really like the effect, and wonder if this would “look” more 3D if I have 3D glasses.. which I think I do…somewhere, in some closet..

 

This image has simply been turned 180 degrees. Does it help the composition work in another way? Do you like it better this way or as you see below? The images below are also variations with over exposures and contrast tweaking using the filters on my iPhone. Have fun and share your work!

 

Open Call for Submissions – FILE Festival – Sao Paulo

Great opportunity to submit your work!

Check it out!

 

What is FILE?

 

FILE – Electronic Language International Festival is a non-profit cultural organization that sparks a reflexion on the main aspects of contemporary digital and electronic universe; disseminating the electronic language across Brazil and South America through events and publications since the year 2000.

FILE gathers works of aesthetic expression that capture the main trends and movements of our contemporary culture, which are diversified amongst the main categories of the festival:

Electronic Sonority: Sound Performance, Sound Installations, Sound Art, Genetic Music, Biologic Music, Classical Electronic Music, Pop Electronic Music, Dramatic Radio Broadcasting, Radio Art, Sound Landscape, Sound Robotics, Music Video, Sound Poetry, Sound Robotics, etc.

Interactive Art: installations, performances, internet projects, virtual reality, augmented reality, multitouch tables, digital objects, outdoor projections, phone projects, electronic graffiti, VRML, etc.

Digital Language: digital games, animation, digital theatre, machinima, digital video, digital architecture, digital fashion, digital design, robotics, artificial life, biological art, transgenic art, software art, new interfaces, animes, hypertexts, non-linear scripts, artificial intelligence, programming language, digital poetry, digital dance, etc.

Founded in the year 2000 by Ricardo Barreto and Paula Perissinotto, FILE aims to magnify technological discussions in the cultural scope. Besides the traditional annual event in São Paulo city, the festival expands itself across national and international borders to cities such as Rio de Janeiro, Vitória, Belo Horizonte, Curitiba, Porto Alegre, São Luis and Brasilia.

FILE’s mission is to promote a wider access from the general public to technologic languages demonstrating how our contemporary world builds itself on the advances of new and digital medias.

 

https://file.org.br/highlight/opencall_file2020/

The Inner Agent

There is an agent inside of you, me and all human beings. The agent is a spy, a diplomat, a spiritual master and a physician of energy and matter. The agent will is coming for you today to activate a doorway, you must walk through it…. This coming week will display the sum total of your most recent internal transformations. You have grown. The fearful side of your ego knows it, and it will attempt to glitch and sabotage the events metaphorically, however, the outcome has already been embedded in {.code}. Well done, see you soon….

NET-ART – Open Call for Submissions!

Welcome to NET-ART’s Open Call for Submissions!

SPRING 2019

What does this mean? What is NET-ART on the Commons?

The NET-ART 2018 & 2019 academic calendar is now accepting submissions on a rolling proposal basis in the following criteria:

  1. Electronic Media / Experimental Pedagogy
  2. Animated GIFS
  3. Digital Art
  4. VIDEO ART / Experimental Film
  5. NET-ART (Works created and displayed in a web browser)
  6. Class / Course Collaboration
  7. Digital ZINEs
  8. Curatorial (A Curated Group Exhibition)
  9. Solo Exhibition
  10. Net-Art Open Projects – (details here)

Looking for useful tools, apps & tutorials to get your submission started? CLICK HERE!

The NET-ART Submission Guidelines:

Submissions may be generated by CUNY faculty, students of all levels, alumni & community members. CUNY classes/courses may also submit collaborative proposals as a group .

All submitted works will be featured and published as individual blog posts as well as added to existing galleries on the NET-ART website.

Depending on the submission’s proposal, relevant and in context, various submissions will be published and exhibited as an individual page created specifically for the project.

All submissions should be described in written detail with a clear vision, context and meaning. Supporting images and links should be provided as well.

Authors of the submissions and their collaborators must be willing to participate, respond to comments and expand upon their projects with incoming queries via the commons, twitter and beyond.

The purpose of exhibiting submissions in various categories displays a platform for creative and experimental methods of pedagogy. Please consider how your work will contribute to a larger whole that will be archived for teaching, reference and posterity.

 

Question, Proposals & Submissions can be sent via e-mail or via Twitter to:

[email protected]  /  @ryanseslow 

 

 

Join the NET-ART group on the commons here for regular updates.