Net Art

Disrupting the Gaze is written in three parts. The first chapter Art Intervention and the Tate Gallery investigates contemporary art intervention at the Tate Gallery. It includes artists, art groups and activists: Graham Harwood, Platform, Liberate Tate, IOCOSE, Tamiko Thiel, Mel Evans, Mark McGowan, Mark Wallinger, Damien Hirst and Britart. The second chapter The Power and the Gaze studies the history of the Tate Gallery, its connection with the Millbank Penetentiary and the “Panopticon", Jeremy Bentham’s design and concept for the prison. The third chapter explores different concepts of “the gaze” and includes feminist, societal and media art contexts. Together they form part of a larger study that looks at dissent in the context of contemporary art, technology and social change.
Each artist(s) featured in this chapter delivers his or her own particular unofficial and official mode of art intervention at the Tate Gallery. Whether these interventions concern economic, social or political conditions, they all connect in different ways. Less in their style or genre than as contemporary artistic practitioners exploring their own states of agency in a world where our public interfaces are as much a necessary place of creative engagement, as is the already accepted physical ‘inner’ sanctum of the gallery space. These artists’ and their artworks have become as equally significant (perhaps even more) than, the mainstream art establishment’s franchised celebrities.
In his vindication of those artists hidden away in places where the art establishment’s light rarely shines, Gregory Sholette observes that “when, the excluded are made visible, when they demand visibility, it is always ultimately a matter of politics and rethinking history.”  (Sholette 2011) This draws upon a contemporary art culture and its audiences beyond the mainstream. These artistic discoveries and discourse arise from an independent art culture that is rarely reflected back to us. Instead, we receive more of the same, marketed franchises. The central, mainstream version of contemporary art has found its allies within a global and corporate culture, where business dictates art value. Meanwhile, a spirit of artistic emancipation thrives. It is self styled, self governed and liberated from the restrictive norms that dominate our mediated gaze.

“Beyond New Media Art” is the revised, updated version of a book first published in Italian with the title “Media, New Media, Postmedia” (Postmedia Books, Milan 2010). Through the circulation of excerpts, reviews and interviews, the book produced some debate outside of Italy, which persuaded the author to release, three years later, this English translation.
“Beyond New Media Art” is an attempt to analyze the current positioning of so-called New Media Art in the wider field of contemporary arts, and to explore the historical, sociological and conceptual reasons for its marginal position and under-recognition in recent art history. On the other hand, this book is also an attempt to suggest new critical and curatorial strategies to turn this marginalization into a thing of the past, and to stress the topicality of art addressing the media and the issues of the information age.
From the book’s preface: “So what is New Media Art? What does this term really describe? And what has occasioned the schism between this term and the art scene it is supposed to describe? And lastly, what accounts for the limited presence in critical debate of an artistic practice that appears to have all the credentials for representing an era in which digital media are powerfully reshaping the political, economic, social and cultural organization of the world we live in?”

Domenico Quaranta, Beyond New Media Art, Link Editions, Brescia 2013. Soft cover, 290 pp., ISBN 9781291376975

This paper explores the artistic legacy of Stéphane Mallarmé’s 1897 poem “Un Coup de Dés Jamais N’Abolirà le Hasard” through a selection of derivative works, in order to demonstrate how the poem can be interpreted in digital environments as a self-replicating machine, programmatically facilitating the ongoing production of potentially countless ulterior works, including our own internet recasting called www.athrowofthedicewillneverabolishchance.com. Through a detailed discussion of this work, we will attempt to draw a lineage between Mallarmé’s original poem/book of 1897 and Google, incorporated a century later, in 1997. In conclusion, we will speculate on the potential that our interpretation of Mallarmé’s work may provide a form of poetry for non-human readers, which we interpret as a metaphysical search for meaning by the kinds of Artificial Intelligence programs currently in development by corporations such as Google.

Durant les années 2006-2007 et 2007, Eva et Franco Mattes explorent les lieux populaires du monde virtuel multiparticipatif Second Life à la recherche des avatars les plus glamours. Ils conçoivent ainsi la série de portraits 13 Most Beautiful Avatars présentée à Ars Virtua en 2007, clin d'œil aux projets de Warhol intitulés 13 Most Beautiful Boys (1964) et 13 Most Beautiful Women (1964), qui ont vu le jour à la fameuse Factory quelque quarante années plus tôt. L'exposition des Mattes se manifeste une seconde fois deux semaines plus tard dans la salle bien réelle de la Italian Academy of Columbia University à New-York. Contrairement à ce que pourrait laisser croire l'ordre chronologique des deux événements, la salle virtuelle d'Ars Virtua a été conçue d'après celle de la Columbia University. Nous avons toutefois l'impression que l'exposition est passée de la virtualité à la tangibilité.
http://ciac.ca/documents/magazine/no_31/oeuvre4.htm

The research focuses on the field of Internet art, net.art, which followed the emergence of the World Wide Web and often manifested as a result of the need to find alternative ways to deal with and circulate works of art other than the established mechanisms of the dominant market. It is here that we come across one of the first attempts to criticize corporate aesthetics and the commercialization of information through the paradigm of net.art’s pioneer, the Serbian artist Vuk Cosic. This will be the motive to trace a particular field of artistic-activist practice, that of Tactical Media, which have been closely associated with Internet art. The theoretical foundation on which Tactical Media was based is situated around the theory of French philosopher Michel de Certeau on the practice of everyday life, which is transformed into a political tactic. Through the examples of Heath Bunting, ®TM ark and Yes Men we will encounter practices which combine net.art with Tactical Media and develop as forms of critique towards neo-liberal hegemony. In the last chapter, the space of the Internet is proposed as another real space, according to Michel Foucault’s concept of heterotopia. The following dilemma emerges; whether the heterotopia of the Internet will function as an illusory space which enhances the illusion of real space or whether it will manage to become another real public space, through its political constitution, which can also be a result of its contingent artistic treatment. We will follow the thought of theorists such as Ernesto Laclau and Chantal Mouffe, Julian Stallabrass, Rosalyn Deutsche and Oliver Marchart, in order to comprehend, through the theory of the political as antagonism and politics as hegemony, that it is not enough for a public space to be physically or institutionally defined as such in order for it to effectively perform its function.

The thesis of this essay can be stated quite directly: Slavoj Žižek, despite having little to say about mashup and remixing in any direct way, engages this new media phenomena in both theory and practice, providing contemporary culture with both a conceptual understanding of the mashup and a carefully executed illustration of its methodology. The examination of this will proceed by way of two movements. The first investigates how Žižek's work, especially his general interest in "short circuiting," provides theoretical insight for understanding the mashup and its cultural significance. The second turns things around, demonstrating how the mashup explains and describes Žižek's own compositional practices. In other words, the first part explains the mashup by way of Žižek, while the second explains Žižek by way of the mashup.

What is a body? In both cybernetic theory and philosophies of sexual difference, there is a common preconception of the body as a physical, stable, material entity. However, the heterogenous experiences of corporeity on cyberspace challenges such preconceptions in that bodies are found to exist in changing, malleable states, produces by processes of writing. In this essay, I propose a reading of Shu Lea Cheang’s web-art work Brandon (1998) and its recent restoration, combined with a critical analysis of philosophical writing on bodies and virtuality by Jacques Derrida and Elizabeth Grosz in order to demonstrate that how the malleable and unstable nature of cyberbodies may help us re-think such notions more generally. In doing so, I propose a reading of bodiliness or corporeity as always-already virtual, made up of local ‘artifactualities’ that produce local realities in and outside cyberspace. This, ultimately, allows us to
begin to re-think and re-define an ethics of the body through the internet, one premised on survival instead of a life/death dichotomy.

With the Internet fast becoming ubiquitous in the developed world artists are finding new ways to not only express themselves, but to communicate with each other across geographically remote, and often politically volatile regions of the World to collaborate with like-minds. "OMA - Ausländer und Staatenlose - a W3 Opera" is an overview of creative processes evolving through computer networks, the interactions and simulated communities that spawn from them and more significantly, the art that is the process of remote interaction itself. More specifically, OMA is about generative art, whereby computers, within a networked environment such as the World Wide Web, are used as enhancer, as generator of new media content in concert with communities of collaborating artists.

Testo dell’intervento fatto da Tommaso Tozzi nella sezione Interventi sulle relazioni fra “Arte e/o computer”, del convegno Pietro Grossi: arte e/o computer. Computer Music, Digital Art, Net Art, Visual Music, svoltosi al Centro per l’Arte Contemporanea Luigi Pecci di Prato, il 19 ottobre 2017.
Vengono descritti e documentati sia la prima esecuzione al computer fatta dal musicista fiorentino Pietro Grossi nel 1967 del Capriccio n. 5 di Paganini, sia il primo esperimento di musica tele-cibernetica realizzata dal Maestro Grossi tra Rimini e Pisa nel 1970.

Through looking at the notion of intrinsic motivation, the emergence of Internet Art, its alternative valuation system, and the new Post-Internet Art of today, this short literature review will attempt to set foot in answering the research question: to what extent has the Internet Art movement in the 1990’s affected the valuation practices of contemporary visual artists?

Přehlídka animovaného filmu v Olomouci přináší ve své knižní edici (Edice PAF) první českou ucelenou antologii o internetovém umění.

MEIXNEROVÁ, Marie (ed.) #mm net art – internetové umění ve virtuálním a fyzickém prostoru prezentace. Pastiche Filmz, Olomouc 2014. ISBN 978-80-87662-06-9


Publikace může sloužit jako prvotní seznámení s touto specifickou oblastí uměleckého světa 20. a 21. století, výběr textů je však určen i poučeným čtenářům, kterým nabídne dosud jinde nepublikované informace a specifickou perspektivu pohledu na fenomén net artu.

MEIXNEROVÁ, Marie (ed.) #mm net art – internetové umění ve virtuálním a fyzickém prostoru prezentace. Pastiche Filmz, Olomouc 2014. ISBN 978-80-87662-06-9

Editor:
Marie Meixnerová

Autoři textů:
Natalie Bookchin, Piotr Czerski, Dieter Daniels, Jennifer Chan, Gene McHugh, Marie Meixnerová, Lumír Nykl, Domenico Quaranta, Gunther Reisinger, Katarína Rusnáková, Matěj Strnad, Alexej Šulgin, Brad Troemel, Ben Vickers, Artie Vierkant

paperback, 16,5 x 23,5 cm, 232 stran, česky

Cena:
240,- CZK/ 10,- EUR



Internetové umění (net art) je dnes vnímáno jako významná a odborně ohledávaná oblast současného výtvarného umění. V průběhu své více než pětadvacetileté historie se však značně proměnilo, stejně jako prošly vývojem způsoby teoretického, kritického i autorského uvažování o něm.


Publikace #mm net art může sloužit jako prvotní seznámení s touto specifickou oblastí uměleckého světa 20. a 21. století, výběr textů je však určen i poučeným čtenářům, kterým nabídne dosud jinde nepublikované informace a specifickou perspektivu pohledu na fenomén net artu.


Do souvislostí jsou kladeny dobové texty, manifesty i teoretické či historické články, v nichž je net art sledován od svých technologických i ideových počátků až do současného okamžiku synkretického spojení virtuálního a fyzického světa a vkročení tzv. postinternetového umění do galerijního prostoru.


Mým cílem bylo reflektovat „net art“ z odlišných perspektiv: dobové umělecké manifesty střídají dobové i pozdější teoretické reflexe, dnes již kanonické práce předních zahraničních odborníků doplňují původní studie českých autorů. Publikace vznikala ve spolupráci a konzultaci s řadou českých a zahraničních odborníků, kurátorů, teoretiků i umělců. (Marie Meixnerová)



Antologie je rozčleněna do pěti tematických okruhů, které jsou odvozeny od významných momentů v genealogii internetového umění: Web 1.0 (Katarína Rusnáková, Dieter Daniels, Marie Meixnerová); Net.art (net-tečka-art) (Domenico Quaranta, Natalie Bookchin, Alexej Šulgin); Web 2.0 (Domenico Quaranta, Piotr Czerski, Brad Troemel, Artie Vierkant, Ben Vickers, Marie Meixnerová) a Postinternet (Jennifer Chan, Gene McHugh). Pátá kapitola nazvaná jednoduše Archivace je věnována archivaci a prezervaci internetového umění (Dieter Daniels, Gunther Reisinger, Matěj Strnad). Autorem doslovu je český teoretik postinternetu a kurátor Lumír Nykl.


Publikaci editorsky zaštítila a autorsky se na ní podílela kurátorka a teoretička Marie Meixnerová, která se fenoménu internetového umění systematicky věnuje od roku 2011.

Marie Meixnerová (*1986) absolvovala anglickou filologii, filmovou vědu a komunikační studia na Univerzitě Palackého v Olomouci, kde je v současnosti doktorandem na Katedře výtvarné výchovy. Působí jako kurátor Screen Saver Gallery a Přehlídky animovaného filmu v Olomouci (PAF), je editorem sekce Experimentální film časopisu 25fps. Pod pseudonymem (c) merry působí jako aktivní umělkyně.

Este paper discute a preservação digital em museus de arte contemporânea, analisando obras de net art criadas nos anos 1990. Aborda as transformações relacionadas às nuvens computacionais, que implicaram novos regimes de padronização, incompatíveis com o tipo de programação dos primeiros sites artísticos.

Nesse contexto, para além da obsolescência tecnológica, a conservação das obras de net art passou a lidar com a obsolescência ideológica. Na discussão, destaca-se o caso de O livro depois do livro (1999), de minha autoria, e sua incorporação ao acervo do Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP).

As dificuldades de acesso ao site, devido aos novos padrões de segurança da Internet, transformaram-se em uma discussão sobre procedimentos de conservação e inserção de obras de net art em um acervo museológico. Em detrimento de procedimentos de recuperação do sistema, optou-se pela sua atualização integral. O resultado é um novo original ou “original de segunda geração” a ser publicado na comemoração dos 20 anos da obra (2019).

Palavras-chave: preservação digital, net art, nuvens computacionais, obsolescência tecnológica, museus de arte contemporânea

(Paper apresentado em Besides The Screen Conference 2018: Vaults, Archives, Clouds and Platforms: Archiving and Preservation in the 21st Century. CIAC-ISMAI, Porto, PT, 5 – 6 July 2018.)

O presente texto pretende constituir uma reflexão sobre este novo território de criação, estudo e divulgação da arte contemporânea, tomando como referência um projeto recentemente desenvolvido através de uma parceria entre três instituições portuguesas. Iniciado em 2014, o projeto unplace tem como objectivo investigar propostas inovadoras para museus e exposições de arte contemporânea online. Mais do que discutir mecanismos ou estratégias de reprodução de obras de arte através da sua transposição de um formato físico para um contexto imaterial, a pesquisa centrou-se, desde o princípio, em conteúdos intrinsecamente concebidos para a Internet, nomeadamente nos domínios da Arte Digital e da Web Art. O acrónimo unplace sintetiza, assim, o título e o tema do projeto: “Um Museu sem Lugar: Museografia Intangível e Exposições Virtuais” ou, na versão inglesa: “A Museum without a Place: Intangible Museography and Virtual Exhibitions”.

In more than five years of activity, the Free Art and Technology Lab (F.A.T. Lab) produced an impressive series of projects, all developed with open source software, shared online and documented in a way that allows everybody to copy, improve, abuse or simply use them. This approach situates F.A.T. Lab in a long tradition of DIY, processual, sharable artistic practices based on instructionals, and reveals a democratic idea of art where Fluxus scores meet hacker culture (and rap music).
Featuring texts by Régine Debatty, Evan Roth, Domenico Quaranta, Geraldine Juárez and Randy Sarafan, The F.A.T. Manual is a selection of more that 100 projects, done in the belief that printing these bits on paper will allow them to spread in a different way, infiltrate other contexts, and germinate. An archive, a catalogue, a user manual and a software handbook documenting five years of thug life, pop culture and research and development.
F.A.T. Lab is an organization dedicated to enriching the public domain through the research and development of creative technologies and media. F.A.T. Lab’s greater network of artists, engineers, scientists, lawyers, and musicians are committed to supporting open values and the public domain through the use of emerging open licenses, support for open entrepreneurship, and the admonishment of secrecy, copyright monopolies, and patents. F.A.T. Lab was co-founded in 2007 by Eyebeam senior fellows Evan Roth and James Powderly. Over the past five years, the group has grown to include twenty-five artists, designers and hacker from 3 continents.
The F.A.T. Manual is co-produced by Link Editions, F.A.T. Lab and MU, Eindhoven in collaboration with XPO Gallery, Paris. With generous support from Baltan Laboratories, Eindhoven and Creative Industries Fund NL, Rotterdam.

Focusing on the paradox of embodiment/ disembodiment in virtual space, and on the recent history of Net Art, this article proposes to go back to Roy Ascott’s metaphor of the ‘telematic embrace’ in order to examine different artistic and theoretical approaches to online affectivity.

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories.  The German version was completed in December 2012. The last chapter of the English translation was published in June 2014. First update: September 2015 (English version as PDF, 16 MB, 384 p., c. 300 ill.: http://iasl.uni-muenchen.de/links/GCA.pdf).

Although the term post-Internet emerged in 2008, since then many writers, critics and curators have been involved in the discussion of what it might mean. Some see it as the ’translation’ of net.art to fit the ecosystem of contemporary art, whereas others understand it as a form that is ’aware’ of its own environment and still carries the flag of institutional critique. Instead of using the Internet just as its material, post-Internet practitioners also take the Internet as subject matter and problematized topics like surveillance, infrastructure and control over the Internet.

This dissertation puts an emphasis on theorizing the concept of post-Internet by referring to invisible infrastructures that shape the Internet, conceptualized by James Bridle as ’the New Aesthetic’; critique of neoliberal agents on the Internet as discussed by Zach Blas; the validity of distinction between digital and physical culture in the age of ’digital natives’ and the problems of authenticity, performativity and temporality in the post-Internetage. Opening chapters gives a non-linear development of the Internet as a medium and the subject of artistic practice, thus distinguishing net.art that is made using material gathered online from post-Internet. After ’defining’ post-Internet, the dissertation looks into real life applications and case studies in order to explore curatorial strategies and processes, especially focused on the rep- resentations of such works in physical spaces. Methodologically, theories are handled and explained using the practices of artists and other producers to point out the disappearance of difference between the theory and practice in life after the Internet.

Anonymous è una ricerca nata durante il mio progetto di tesi triennale.
L'obiettivo progettuale era di creare una nuova identità visiva per il gruppo hacker che ha scelto l'anonimato come forma di protesta e protezione.

Il saggio che accompagna il progetto pratico è una ricerca sul movimento, dalla nascita del verbo "to hack" fino alla campagne più famose dei gruppi Anon,
La ricerca vuole mettere in luce i principi del movimento, l'etica e le realtà parallele a questo mondo, attraverso un fenomeno più grande come l'hacktivismo, opere e performance nel ramo della Net Art, passando per temi come il concetto di anonimato, al grande movimento Open source.

A través de este texto se pretende realizar a una aproximación a las  técnicas y disciplinas artísticas  contemporáneas que están compuestas con elementos relacionados con la tecnología y los nuevos medios, realizando una breve revisión de la Historia del Arte reciente. Al mismo tiempo, se realiza un cuestionamiento de la aceptación que tienen estas obras en la sociedad y el mundo académico.

Internet fa parte della nostra routine quotidiana e quando siamo connessi tendiamo a utilizzare più lingue: chattiamo con i nostri amici in italiano, scriviamo mail lavorative in inglese, leggiamo e condividiamo articoli e immagini in spagnolo e in francese. Inoltre, comunichiamo attraverso la lingua dei meme e delle gif animate, parliamo in emoji ed esprimiamo le nostre emozioni con “Reazioni” e “Mi piace” di Facebook, Instagram e Tumblr. Per comprendere e utilizzare queste lingue-non-lingue servono delle conoscenze culturali che non vanno date per scontate. Anche se a primo impatto le faccine colorate, le Reazioni “sigh” e “grrr” e i video divertenti dei gattini possono sembrare banali, in realtà presentano molte sfaccettature che spesso rimangono nascoste e che necessitano di una particolare attenzione per essere comprese a pieno. In questa tesi mi sono focalizzata su queste pratiche che avvengono sulla rete, affiancando il tutto a esempi artistici.


Accademia di Belle Arti di Carrara,

Diploma Accademico di I livello,
Scuola di Nuove Tecnologie dell’Arte,
Prof. Domenico Quaranta.

POST-LANGUAGES,
Analisi delle lingue e delle post-lingue di internet.

Tesi di Rebecca Nerini,
Matr. AM691.

Relatore Prof. Domenico Quaranta,
Correlatore Prof. Clemente Pestelli.

A.A. 2017/2018,
1°Sessione.

In Your Computer, by Domenico Quaranta, is a collection of texts written by Domenico Quaranta between 2005 and 2010 for exhibition catalogues, printed magazines and online reviews: a pocket version of what the author would save from the universal flood, in a world without computers. It documents most of the fields of research he has focused on critically: from Net Art to Software Art and videogames, from biotechnologies to the debate around curating and the positioning of New Media Art in the contemporary landscape, and back to Net Art again.  This itinerary is traced through a selection of essays, monographic texts and interviews with artists and curators, in no particular order: from Eva and Franco Mattes to Casey Reas, from UBERMORGEN.COM to Oliver Laric, from Cory Arcangel to Tale of Tales, from Jon Ippolito to Gazira Babeli. 
As the author writes in the introduction: «We are in the midst of a major change. At the end of the process, not only the way we live, work, travel and communicate, but also the political and economical structures and the social organization we are used to will probably be fundamentally different from how they are now. In art, this change will be complete when the way we make, circulate and understand art is completely different from the way we do it now; and when the way we understand the difference between copies and original and between art and non-art will have adapted to the new models created by the information age. The most we can do now is to take our time, adapt to our new living conditions, be aware of the process going on and look to the most radical propositions around for signals of what is to come. In the awareness that we probably don’t have to look that far: these signals are already here, in our computers.»

Domenico Quaranta, In Your Computer, LINK Editions, Brescia 2011. Soft cover, 180 pp, English, ISBN: 978-1-4467-6021-5

Dictionary entry. An overview of Internet art, as art that uses the Internet not only as its tool of production and distribution but also as its source material or medium, and exploits or reflects the Internet’s inherently connective characteristics.

The Free Art & Technology Lab art collective, who had been championing a free and participative culture through their support of open source software,  announced their closure and ‘total defeat’ in 2015 in the face of a loss of a stake in the future of the Internet. In the face of the simulacrum’s logic, Baudrillard took a similar approach through his ‘fatal’ strategy. Is there possibility for the digital technology, the Internet, and the realm of representation to still serve as avenues towards political subversion within what Baudrillard terms ‘the hyperreal’? Has the political sphere, the social, the logic of fact and the order of reason, truly disappeared, or is Baudrillard’s own theory simulational in its creation of a ‘media theology’? Does democracy still have something to offer or does its functionality lay precisely in its failures? Have we truly lost all alternatives, are we stuck in a simulacrum, or does Baudrillard underestimate the subject’s own powers of mediation and agency? Did F.A.T. Lab’s hacktivist tactics wield the media’s own logic against itself, or reinforce the simulational logic of the system they were attempting to topple? F.A.T. Lab and Baudrillard’s strategies of total defeat are the only effective strategies in combating the simulacrum and the Internet as a structure of power. It is in the total defeat that we acknowledge the failure of democracy and capitalism, rather than petitioning to its moral framework which serves to shroud its functional dysfunctionality. As we face of an increasingly absurd sociopolitical reality, perhaps we must also take a stance of ‘total defeat’ and, as per Slavoj Žižek and Jean Baudrillard, find new ‘Master-Signifiers’.

A thorough examination and application of Walter Benjamin’s essay on “Art In The Age of Mechanical Reproduction” (1936) in the context of the Internet Art genre.  Internet Art, the paradigmatic art form can be seen as the continuation and development of Benjamin's theory.

Autor charakteryzuje w swoim artykule kolejno pojęcie nowych mediów, sztuki nowych mediów, oraz sztuki cybernetycznej, która jest tu postrzegana jako historycznie pierwsza postać sztuki nowych mediów, posiadająca zarazem liczne kontynuacje we współczesności. Pojęcie nowych mediów autor ujmuje nie poprzez ulokowane go na linii czasu lecz jako paradygmatyczny zespół właściwości, z których nowe media korzystają. Najważniejsze z nich, to techniczny charakter, reprezentacja numeryczna, wirtualność, modularność, automatyzacja, wariacyjność, telekomunikacyjność, telematyczność, autonomiczność, cyfrowość, interaktywność, hipertekstualność, wirtualność, informacyjność, sieciowość, nielinearność i orientacja przestrzenna, nawigacyjność, strukturalne otwarcie, hybrydyczność, interfejs, konwergencja. W analogiczny sposób charakteryzowane jest tu pojęcie sztuki nowych mediów. W tym wypadku, z kolei, najważniejszymi paradygmatycznymi właściwościami okazują się techniczny i elektroniczny charakter, cyfrowość, interaktywność i sieciowość. Liczne wyodrębnione przez autora sztuki nowych mediów w zróżnicowany sposób konfigurują wskazane właściwości, łącząc je innymi, niespecyficznymi dla nowych mediów, budując w ten sposób złożony krajobraz sztuk nowomedialnych.