An introduction to the art of the Internet examines key works, events, and technological developments that show how artists have employed online technologies to engage with the traditions of art history, focusing on the themes of intellectual property, identity, economics, and power in the networked age. Original.

Network Art brings an international group of leading theorists and artists together to investigate how the internet, in the form of websites, mailing lists, installations and performance, has been used by artists to develop artwork. Covering a period from the mid 1990s to the present day, this fascinating text includes key texts by historians and theorists such as Charlie Gere, Josephine Bosma, Tilman Buarmgartel and Sarah Cook, alongside descriptions of important projects by Thomson and Craighead, Lisa Jevbratt and 0100101110101101.org amongst many others. Fully illustrated throughout, and including many pictures of artworks never before seen in print, Network Art represents one of the first substantial attempts to place major artist's writings on network art alongside those of critics, curators and historians. In doing so it takes a unique approach, offering the first comprehensive attempt to understand network art practice, rooted in concrete descriptions of the systems and the process required to create it.

The Art of Network Architecture Business-Driven Design The business-centered, business-driven guide to architecting and evolving networks The Art of Network Architecture is the first book that places business needs and capabilities at the center of the process of architecting and evolving networks. Two leading enterprise network architects help you craft solutions that are fully aligned with business strategy, smoothly accommodate change, and maximize future flexibility. Russ White and Denise Donohue guide network designers in asking and answering the crucial questions that lead to elegant, high-value solutions. Carefully blending business and technical concerns, they show how to optimize all network interactions involving flow, time, and people. The authors review important links between business requirements and network design, helping you capture the information you need to design effectively. They introduce today’s most useful models and frameworks, fully addressing modularity, resilience, security, and management. Next, they drill down into network structure and topology, covering virtualization, overlays, modern routing choices, and highly complex network environments. In the final section, the authors integrate all these ideas to consider four realistic design challenges: user mobility, cloud services, Software Defined Networking (SDN), and today’s radically new data center environments. • Understand how your choices of technologies and design paradigms will impact your business • Customize designs to improve workflows, support BYOD, and ensure business continuity • Use modularity, simplicity, and network management to prepare for rapid change • Build resilience by addressing human factors and redundancy • Design for security, hardening networks without making them brittle • Minimize network management pain, and maximize gain • Compare topologies and their tradeoffs • Consider the implications of network virtualization, and walk through an MPLS-based L3VPN example • Choose routing protocols in the context of business and IT requirements • Maximize mobility via ILNP, LISP, Mobile IP, host routing, MANET, and/or DDNS • Learn about the challenges of removing and changing services hosted in cloud environments • Understand the opportunities and risks presented by SDNs • Effectively design data center control planes and topologies

Net Art Anthology aims to represent net art as an expansive, hybrid set of artistic practices that overlap with many media and disciplines. To accommodate this diversity of practice, Rhizome has defined "net art" as "art that acts on the network, or is acted on by it." Rhizome prefers the term "net art" because it has been used more widely by artists than "internet art," which is more commonly used by institutions, or "net.art," which usually evokes a specific mid-90s movement. The informality of the term "net art" is also appropriate not only to the critical use of the web as an artistic medium, but also informal practices such as selfies and Twitter poems.

Collecting and Conserving Net Art explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies. Viewing net art as a process rather than as a fixed object, the book considers how this is influenced by and executed through other systems and users. Arguing that these processes and networks are imbued with ambiguity, the book suggests that this is strategically used to create suspense, obfuscate existing systems and disrupt power structures. The rapid obsolescence of hard and software, the existence of many net artworks within restricted platforms and the fact that artworks often act as assemblages that change or mutate, make net art a challenging case for conservation. Taking the performative and interpretive roles conservators play into account, the book demonstrates how practitioners can make more informed decisions when responding to, critically analysing or working with net art, particularly software-based processes. Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.

This long out-of-print anthology, edited by Mary Stofflet and Michael Crane and published in 1984, is the authoritative work on correspondence art. This anthology was compiled during the peak of correspondence art activity, with contributions from many of the medium's major players. Contributors: Ken Friedman, Dick Higgins, Ulises Carrion, Judith A. Hoffberg, Marily Ekdahl Ravicz, Jean-Marc Poinsot, Thomas Cassidy, Milan Knizak, Klaus Groh, Kenneth Coutts-Smith, Richard Craven, A.M. Fine, Tomas Schmit, Thomas Albright, Anna Banana, Andrzej Partum, Stephan Kukowski, Robert Reehfeldt, Steve Hitchcock, Edgardo-Antonio Vigo, Geoffrey Cook, Gaglione 1940-2040, C.E. Loeffler, Ken Friedman, Georg M. Gugelberger, James Warren Felter, and Peter Frank.

From the Publisher: While critics have long disparaged commercial television as a vast wasteland, TV has surprising links to the urbane world of modern art that stretch back to the 1950s and '60s during that era, the rapid rise of commercial television coincided with dynamic new movements in the visual arts-a potent combination that precipitated a major shift in the way Americans experienced the world visually. TV by Design uncovers this captivating story of how modernism and network television converged and intertwined in their mutual ascent during the decades of the cold war. Whereas most histories of television focus on the way older forms of entertainment were recycled for the new medium, Lynn Spigel shows how TV was instrumental in introducing the public to the latest trends in art and design. Abstract expressionism, pop art, art cinema, modern architecture, and cutting-edge graphic design were all mined for staging techniques, scenic designs, and an ever-growing number of commercials. As a result, TV helped fuel the public craze for trendy modern products, such as tailfin cars and boomerang coffee tables, that was vital to the burgeoning postwar economy. And along with influencing the look of television, many artists-including Eero Saarinen, Ben Shahn, Saul Bass, William Golden, and Richard Avedon-also participated in its creation as the networks put them to work designing everything from their corporate headquarters to their company cufflinks. Dizzy Gillespie, Ernie Kovacs, Duke Ellington, and Andy Warhol all stop by in this imaginative and winning account of the ways in which art, television, and commerce merged in the first decades of the TV age.