Page 110 - Fundação MEO - Net Arte no Triângulo das Bermudas

Previous initiatives, such as The Broken Timeline 4. https://thebrokentimeline.
https://thebrokentimeline.
valiz-makingpublic.net
(2022) by Marialaura Ghidini, Gaia Tedone and Annet valiz-makingpublic.net
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Dekker, reflect the difficulty of identifying, documenting 5. Contact: netart.centroaaa@
netart.centroaaa@
gmail.com
and archiving what has materialised in such a vast and gmail.com
dynamic environment as the Internet. From taxonomy to genealogy
and media archaeology, this timeline is a visual platform open to
change and transformation. We are aware of our proposal’s limited
and partial nature, and acknowledge its present and future potential.
Some of the data collected is likely subjective, some references
partial, and many works are inaccessible, irretrievably lost or no longer
functioning. The obsolescence of this type of digital work, due to the
speed at which the Internet changes and the confusion of memories
and recollections of the authors of some of the initiatives mapped,
sometimes reinforce the feeling that such a historical reconstruc-
tion is as emotional as it is imprecise. This chronology is, therefore,
a creative endeavour that allows for certain freedoms. We intend to
keep it open and collective between the two of us and among other
researchers and Internet enthusiasts, inviting them to share what they
know about net art in Portugal . By making this map available, we
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want to draw attention to the subject and help reduce the research
gap in this area. We also want to extend the values of the democratic
culture promoted by the early Internet.

METHODOLOGY OF DATA COLLECTION

The data collection for this chronology was based on the approaches
developed by each of its authors within the framework of their indi-
vidual scientific projects. Since 2022, Ponte has been researching
net art in Portugal and Rivero-Moreno has been studying the broader
field of new media art in Portugal. The chronology focuses on works
that, at some stage of their materialisation, depended on a computer
network, with the Internet being (or having been) the privileged
channel for experiencing and/or understanding them. In this way,
the data from their research was brought together after establishing
the following criteria:
› There was no screening regarding the quality of the artistic
projects or the associated events. The main idea was to map the
largest number of events and activities that took place with the arrival
of the Internet in Portugal, leaving the work of analysing their develo-
pment, impact and influence to later studies.
› The mapped cultural and academic events, from 1995 to
the present day, show the signs of access, development and full

A Proposal for a Chronology
A Proposal for a Chronology 110
– an Overview of Net Art in Portugal
– an Overview of Net Art in Portugal