http://95.216.75.113:8080/xmlui/handle/123456789/201 2026-04-06T11:07:41Z 2026-04-06T11:07:41Z Kennard, Susan Grau, Oliver Diamond, Sara http://95.216.75.113:8080/xmlui/handle/123456789/403 2019-07-03T14:01:55Z

Welcome address Kennard, Susan; Grau, Oliver; Diamond, Sara This text was presented at REFRESH! THE FIRST INTERNATIONAL CONFERENCE ON THE HISTORIES OF ART, SCIENCE AND TECHNOLOGY - September 28 - 0ct 1, as a peer-reviewed scholarly work chosen for inclusion. This text may have been or will be published and/or presented elsewhere by the author.

Malina, Roger http://95.216.75.113:8080/xmlui/handle/123456789/402 2019-07-03T13:59:49Z

Welcome address Malina, Roger

Gulan, Genco http://95.216.75.113:8080/xmlui/handle/123456789/401 2019-07-03T13:55:47Z 2005-10-01T00:00:00Z

The Web Biennial Project: Developing Distributed, Real-time, Multimedia Presentation Technologies to Develop Independent, Open, Collaborative, Exhibition Models. Gulan, Genco The Web Biennial (WB) is a large scale, non-national, bi-annual contemporary art exhibition created exclusively for the World Wide Web (W.W.W). Both of the Web Biennial’s in 2003 and 2005 has been announced, produced, exhibited and documented exclusively on the W.W.W. WB is an open non-curated, non-thematic exhibition and it does not have any sponsors. In the “distributed system” of the WB the participants host their own contents separately in their own servers but still exhibit together. Technically, navigation is based on a custom navigation: a specially developed search engine and a special head tag code for every participant. The collaborative model not only helps a different technical structure to function but also to prove that nonmonetary artistic cooperation can still exist in the 21st Century. As a result, the Web Biennial aims to offer an alternative approach to exhibiting online art and it brings an alternative method for exhibiting art online. This text was presented at REFRESH! THE FIRST INTERNATIONAL CONFERENCE ON THE HISTORIES OF ART, SCIENCE AND TECHNOLOGY - September 28 - 0ct 1, as a peer-reviewed scholarly work chosen for inclusion. This text may have been or will be published and/or presented elsewhere by the author.

2005-10-01T00:00:00Z Pias, Claus http://95.216.75.113:8080/xmlui/handle/123456789/400 2019-10-31T12:42:47Z

Zombies of the Revolution Pias, Claus Although the body of cybernetics died in the 60's, some of its parts live a ghostly (or uncanny) existence in New Media Art discourse. Cybernetics once promised so much: a new ontology closing the gap between animate and inanimate; a new unity of arts and sciences (or at least the two cultures); the reconciliation of subject and object and what else not. And little machines were built for the Epistemology Fair. Some people called this the 'end of philosophy', the 'end of the myths of art', the 'end of history' or the 'end of ideology'. And some people thought that playing around with the latest technology is just fun and didn't bother about such old european issues. Considering the phenomenon of well-funded and established New Media Art over the last 20 years it seems that such differences got lost sometime and historical memory became blurred. Is New Media Art discourse just a farce of the (somehow tragic) cybernetic discourse of the 50's and 60's? What elements of cybernetics had to be forgotten, suppressed or altered for New Media Art to be successful? This video was recorded at REFRESH! THE FIRST INTERNATIONAL CONFERENCE ON THE HISTORIES OF ART, SCIENCE AND TECHNOLOGY - September 28 - 0ct 1, as a peer-reviewed scholarly work chosen for inclusion.