Internet artworks, artists and computer programmers: Sharing the creative process

Leonardo

Volumn 39, Issue 1, 2006, Pages 45-50

  Fourmentraux, Jean Paul ^a  

^a ÉCOLE DES HAUTES ÉTUDES EN SCIENCES SOCIALES   (France)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 70449807019     PISSN: 0024094X     EISSN: None     Source Type: Journal    
DOI: 10.1162/002409406775452177     Document Type: Article

References (28)

1. H. Becker, Art Worlds (Berkeley, CA: University of California Press, 1982)
2. In the original French text this word is "dispositif," meaning, literally, "mechanism" or "device." Long mistranslated as "apparatus" in the field of film theory, this term would he better defined as a holistic phenomenon that encompasses both the cinematic apparatus, or mechanism, and the subject or viewer implicated in its functioning. Melita Zajc explores the question of this common mistranslation in her essay, "The Concept of Dispositiv: Studying Technology in Terms of Its Use. Because of the All Yet-to-Be-Written User Manuals" (available on-line at ). Zajc invented the term "dispositiv " to avoid this problem of mistranslation. In this text, I also translate this term "dispositif as "dispositiv," in order to avoid confusion
3. Reynald Drouhin, Des_Frags
4. Reynald Drouhin immersed himself in the Internet in 1995. Artworks such us Alleraction, Metaorigines and Des_Frags divert software, disrupt images and incorporate Internet errors and other intrigues. Drouhin's works often overlap and respond to one another. He is considered a major figure of French-speaking Net Art
5. CICV provides artists' residencies in electronic arts and organizes the International Festival of Multimedia Urban Arts, in Belfort, France . This multimedia and digital art festival is funded by the French Ministry of Culture
6. C. Bessy and F. Chateauravnaud, Experts et faussaires. Pour une sociologie de la perception (Paris: Mé-tailié, 1995)
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10. M. Akrich, "Essay of Technosociologv: A Gasogene in Costa Rica," in P Lemonnier, ed., Technological Choices: Transformation in Material Cultures since the Neolithic (London: Routledge, 1993) pp. 289-337
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17. N. Dodier, Les hommes et les machines. La conscience collective dans les sociétés technicisées (Paris: Métailé, 1995)
18. B. Latour and S. Woolgar, Laboratory Life: The Construction of Scientific Facts (Princeton, NJ: Princeton Univ. Press, 1986)
19. B. Latour, Science in Action: How to Follow Scientists and Engineers through Society (Cambridge, MA: Harvard Univ. Press, 1987)
20. B. Latour, "Drawing Things Together," in M. Lynch and S. Woolgar, eds., Representation in Scientific Practice (Cambridge, MA: MIT Press, 1990) pp. 19-68
21. D. Norman, The Design of Everyday Things (New York: Doubleday Currency, 1990)
22. S. Shapin, "The Invisible Technician," American Scientist 77 (1979)
23. S-L. Star, "Working Together: Symbolic Interactionism, Activity Theory, and Information Systems," in D. Middleton and Y. Engestrom, eds., Cognition and Communication at Work (Cambridge, UK: Cambridge Univ. Press, 1997)
24. P-M. Menger, "Artists as Workers: Theoretical and Methodological Challenges," Poetics 28 (2001) pp. 241-254
25. C. Harris, Art and Innovation: The, Xerox Parc Artists-in-Residence Program, (Cambridge, MA: MIT Press, 1999)
26. G. Hutzler, B. Gortais and A. Drogoul, "The Garden of Chances: A Virtual Ecosystem," Leonardo 33, No. 2, 101-10? (2000)
27. J. Campbell, "Delusions of Dialogue: Control and Choice in Interactive Art," Leonardo 33, No. 2, 133-140 (2000)
28. J. Hamilton, Fields of Influence: Conjunctions of Artists and Scientists (Birmingham, U.K.: University of Birmingham Press, 2001)