Nye Thompson & UBERMORGEN, UNINVITED, 2020
An invisible networked super-organism oscillates between anxiety, lust, and horror. Described by the artists as ‘a radically new creature looking at the world and nothing makes sense,’ the synthetic organism apprehends the universe through millions of hallucinogenic virally abused (CCTV) sensors.
Thompson & UBERMORGEN’s life-form continually evolves by using human and machine learning. It defines its own existence and distributed agency through undergoing fear, instability, aggression, and vulnerability. UNINVITED can be experienced as a horror film, an online experience (web), and an installation (currently in the UK and Romania).
Danielle Baskin, Goodbye.domains, 2020. A graveyard for good domains you let expire
The most amazing collection of net-based art worldwide is undergoing a process of redesign. Documentation here
Danielle Baskin and Max Hawkins, Quarantine Chat, 2020
“We don’t think of anything we are conserving as a thing or a stable entity. Internet and network-based art is the most extreme type of artifact that you might want to archive, because many websites or projects that happen on the web have blurry borders. So you can’t quite define an objecthood. Some are changing all the time, so you can’t nail down a definitive version of the artwork.” in Maximilíano Durón, “A Net Art Pioneer Evolves With the Digital Age: Rhizome Turns 20”, in Artnews, 09/01/16
“I’ve seen a number of internet shows, and I never leave feeling that they contribute to a growing body of knowledge about art and technology. Each one ends in the same place where it started: some hazy notion of the internet’s importance. […] While a historical show reconstructs connections among artists, the thematic show removes works from their original contexts so that it may create a new one for them, which makes the format particularly ill-suited for meaningfully representing how artists use the internet. The internet show puts viewers in the position of a user encountering works at random, rather than providing them with an understanding of how artists have engaged in conversations about the use of various tools, platforms, and concepts.” Brian Droitcour, “Broken Links: The Internet Show”, in Art in America, September 1, 2018