“[the internet] elicited growing interest among artists who did not belong to the New Media Art world, and had no connection to its history. Secondly, new generations of artists came onto the scene, artists who would see such a distinction between worlds as pointless, obscure and obsolete. Lastly the internet – not as a medium but as a social setting and public arena – offered itself up as the “art world” for a new “native” artistic practice that is produced, distributed and discussed there: Net Art. Despite its ups and downs, Net Art still represents the main challenge thrown down to the art market on one hand and to New Media Art on the other.”

“right from the very start Net Art stood proudly apart from the two worlds described above, despite having things in common with both. It established itself as a sort of caustic, irreverent end-of-millennium avant-garde, the “novelty” of which lay not in its use of a new medium, but in taking the implicit potential of the information era to extremes, like the avant-garde movements of the Twentieth century did with industrial capitalism. This period did not last long, but Net Art had significant consequences on the artistic use of digital media from then on. It should therefore come as no surprise that Net Art was the first “media art” to arouse the interest of the art world, after the institutionalisation of video and a 40 year long rejection of the “art and new technologies” paradigm.”


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