Page 116 - Fundação MEO - Net Arte no Triângulo das Bermudas

Joana Chicau, João Simões and Beatriz Albuquerque, 27. https://file.org.br/
https://file.org.br/
among others, have become regular participants 28. https://xcoax.org/
https://xcoax.org/
in international networks of festivals and academic 29. https://thewrong.org/
https://thewrong.org/
events, such as FILE Festival , XCoaX and 30. See Marisa Olson in Archey
28
27
TheWrongBiennale . and Peckham (2014).
29
31. See, for example,
Novitskova (2010), McHugh
(2011), Droitcour (2014a),
Droitcour (2014b) and Quaranta
“PORTUGUESE” NET ART IN THE (2015).
POST-INTERNET ERA 32. INE, Inquérito
à Utilização de Tecnologias
da Informação
The advent of Web 2.0 has enabled widespread e da Comunicação pelas
and universal access to the Internet. In this new tech- Famílias (2003) URL:
https://www.ine.pt/xportal/
https://www.ine.pt/xportal/
xmain?xpid=INE&xpgid=ine_
nological ecosystem, other terms are circulating to xmain?xpid=INE&xpgid=ine_
destaques&DESTAQUESdest_
destaques&DESTAQUESdest_
describe it, such as “post-Internet” or “post-digital”. boui=72149&DESTAQUESmodo=2
boui=72149&DESTAQUESmodo=2
This is the moment when the “new technology” ceases 33. INE, Inquérito
à Utilização de Tecnologias
to be a novelty and is naturalised and assimilated into da Informação
everyday life. This phase will be completed with the e da Comunicação pelas
Famílias (2022) URL:
growing use of smartphones, which allow 24-hour https://www.ine.pt/xportal/
https://www.ine.pt/xportal/
xmain?xpid=INE&xpgid=ine_
xmain?xpid=INE&xpgid=ine_
connectivity to the Internet. The term “post-Internet” destaques&DESTAQUESdest_
destaques&DESTAQUESdest_
boui=541052592&DESTAQUESmodo=2
has been debated particularly in the art world. Marisa boui=541052592&DESTAQUESmodo=2
Olson coined it around 2006 , and it has been widely 34. See Murraças (2008).
30
discussed by various authors, including Gene McHugh and Domenico
Quaranta . This technology’s unstable and transformative nature
31
continues to generate new phases that consolidate elements of the
previous Internet that follow one another, such as the recent deve-
lopment of blockchain technology. For example, while in 2003, only
21.7 per cent of Portuguese had access to the Internet at home , by
32
2022, this figure reached 88.2 per cent, of which 84.6 per cent using
broadband connections . It should be noted that communications in
33
the country began to speed up with the arrival of ADSL in 2002.
Between 2004 and 2005, there was a proliferation of net art
projects in the country. This can be seen as the movement’s “swan
song”, the glorious moment before its end. At this point, net art
undergoes a profound transformation. The post-Internet period
arrived in the country before net art could flourish in its most original
forms, as it was never constituted as a robust network for commu-
nicating, exhibiting, collecting or commercialising art. The article
“Amigos Online” [Online Friends] by André Murraças shows how
Portuguese artists began to create their own websites and regularly
use social networks such as Facebook, Youtube and Twitter between
2005 and 2010 . Although the Internet is now treated primarily
34
as a communication and commercial platform, collectives such as
CADA are emerging that integrate experimentation with software and

A Proposal for a Chronology 116
A Proposal for a Chronology
– an Overview of Net Art in Portugal
– an Overview of Net Art in Portugal