Page 111 - Fundação MEO - Net Arte no Triângulo das Bermudas

6. See, for example, Greene assimilation of techno-culture directly related to the
(2004).
Internet in Portugal.
7. See, for example, Bookchin › Events in other cultural and geographical contexts
and Shulgin (1999).
have been included to provide a broader perspective
8. See, for example, Bazzichelli
(2009) and Heffernan (2017). of the net art phenomenon outside Portugal.
The chronology is structured according to the categories “Artistic
Project”, “Publication”, “Festival”, “Exhibition”, “Conference”,
“Database”, “ICT” and “Other”. We don’t consider these to be defini-
tive categories, but they make it possible to group events of a similar
but different nature with relative coherence. For example, the
“Publication” category includes doctoral theses, academic articles,
academic journals, art magazines, books and book chapters, confe-
rence proceedings, and news published by the media, both in digital
and paper format. The “Artistic Project” category includes any work
involving a computer network of artists and artists’ collectives. The
“Exhibition” category includes exhibitions of online artistic projects
in physical space and hybrid forms. The “ICT” category refers to
technological innovations that have influenced the way the Internet
is used in everyday life. The “Other” category includes events such as
“Competition”, “Award”, “Radio”, “TV Programme” and “Blog”. In this
first stage of structuring the collected data, we formulated broader
categories, sacrificing the diversity of typologies and sub-typologies
of the mapped events. This was done with the aim of facilitating the
visualisation of the relationships formed between artistic practice,
academic analysis and cultural events. In this way, we hope to contri-
bute to a deeper understanding of the original context of the mapped
artistic projects, and to provide a reflection on how these activities
benefit from and influence each other.

TERMINOLOGY

We are unsure about the most appropriate terms to describe the
works resulting from the relationship between art and the Internet:
“Internet-based art”, “web art”, “Internet art”, “net art”, “.art” or “net.
art”. Doubts have also arisen when trying to define the phenomenon
of net art in Portugal. These doubts accompany the countless hesi-
tations of previous researchers dedicated to this topic. Outside
Portugal, some scholars of these artistic practices have chosen to
use the term “Internet art” . Artists who pioneered the Internet have
6
opted for the term “net.art” . Some authors prefer to think of the
7
Internet as a collective work of art, and others as an artistic form
in itself . In any case, both the history of net art and the terms used
8

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Sofia Ponte & Luis D. Rivero-Moreno
Sofia Ponte & Luis D. Rivero-Moreno