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Thesis Info

LABS ID
00693
Thesis Title
Art on the Internet and the Digital Public Sphere, 1994 - 2003
Author
Megan Driscoll
2nd Author
3rd Author
Degree
PhD
Year
2018
Number of Pages
367
University
University of California, Los Angeles
Thesis Supervisor
Dr. Miwon Kwon
Supervisor e-mail
mkwon AT humnet.ucla.edu
Other Supervisor(s)
Dr. Steven Nelson, Dr. Dell Upton, and Dr. Peter Lunenfeld
Language(s) of Thesis
English
Department / Discipline
Art History
Copyright Ownership
Megan Driscoll
Languages Familiar to Author
URL where full thesis can be found
escholarship.org/uc/item/5kf3x456
Keywords
internet art, net art, public art, digital public sphere, contemporary art, internet, computer networks, web
Abstract: 200-500 words
This dissertation narrates the development of internet art, a diverse set of practices united by their interrogation of the technological, social, and/or political bases of computer networks. Covering the period from 1994, when “internet art” began to coalesce around the rise of the World Wide Web, to 2003, when both internet art and internet culture writ large began to respond to the rise of social media and “web 2.0” technologies, the dissertation homes in on a select number of net art projects that variously engaged or challenged this period’s most persistent claim: that the internet is a new, digital public sphere. By studying how these artworks critiqued this claim, the dissertation uncovers three major models through which net art has asserted the publicness of computer networks—as an interpersonal network that connects or unites strangers into groups; as a virtual space akin to physical spaces of public gathering, discourse, and visibility; and as a unique platform for public speech, a new mass media potentially accessible to all. Claims for the public status of computer networks rest on their ability to circulate information and facilitate discussion and debate. This definition of publicness is rooted in the concept of the classical public sphere as theorized by Jürgen Habermas. The dissertation will thus review Habermas’s model of the classical public sphere as well as its most significant critiques in order to interrogate the terms of a digital public sphere. The dissertation will also engage Michael Warner’s work on the formation of publics, counterpublics, and the mass-cultural public sphere; Oskar Negt and Alexander Kluge’s analysis of shared experience as the foundation of the formation of public spheres and the role of mass media in this process; Henri Lefebvre’s articulation of the social production of space; and Gilles Deleuze and Alexander Galloway’s respective analyses of the role of network logics in contemporary systems of control. The dissertation begins with a chapter overview of the emergence of computer networking during the second half of the twentieth century and the different ways in which artists experimented with it to explore new modes of communication, collaboration, and exchange. With the appearance of the web in the mid-1990s, and with growing art institutional interest in its novelty, these experiments crystallized into what we now know as internet art, bringing with it challenging questions regarding the viability of the internet as an unprecedented digital public sphere. The second chapter turns to this emergent field of net art and how some artists tried to define the terms of a new public sphere as an interpersonal network that allows people who are not in physical or temporal proximity with each other to form publics. The chapter explores Douglas Davis’s The World’s First Collaborative Sentence (1994) and Heath Bunting’s Project X (1996), two works that use the strategy of accumulation to make visible the collective presence of internet users, either as a reading public formed through the circulation of discourse or as a public united by the articulation of its members’ shared experience. The third chapter introduces practices that challenge the presumed universality of the digital public sphere by foregrounding gender and race issues, which are often obscured in dominant discourses regarding computer networks. The chapter focuses on Cornelia Sollfrank’s Female Extension (1997) and Mendi + Keith Obadike’s Black.Net.Art Actions (2001 – 2003), demonstrating how these works help to define the counterpublics of the digital public sphere by circulating marginalized discourses on the web in opposition to the mainstream. The fourth chapter examines the spatialization of computer networks and how the internet’s communication platforms have become conceptually analogous to ancient forums or seventeenth-century coffee shops. Through analyses of Ben Rubin and Mark Hansen’s Listening Post (2001) and Natalie Bookchin and Jacqueline Stevens’s agoraXchange (2003), the chapter attends to both utopian and skeptical views regarding the viability of the internet as a (virtual) space of public gathering and discourse. Chapter five further interrogates the idea that the internet is a theater of visibility, where actions are public because they cannot be private. The first artwork in this chapter, RSG’s Carnivore (2001), critically addresses computer networks as a surveillance technology and part of a system of social control. The second work, Eva and Franco Mattes’s Life Sharing (2000 – 2003), explores what happens when internet users embrace this condition of (hyper)visibility, freely sharing not only their personal information but also their intellectual property, thereby eliding spatial and juridical notions of public domain. The sixth chapter addresses the notion of computer networks as a new mass medium of public speech, a platform for publicity that is also a site of struggle to exert influence on the public sphere. Homing in on the work of net art collective ®™ark, the chapter follows how the collective uses parody to challenge institutions that seem complicit in the commercialization of the network and the suppression of individuals’ access to the network’s platforms for public speech. In the seventh chapter, the dissertation turns to artists’ responses to a legal challenge that threatened their speech rights on the network, a set of actions known today as Toywar (1999 – 2000). The chapter also contends with how etoy, a collective of artists involved in the litigation, took up corporate branding as artistic practice to reframe internet communication platforms as tools of mass publicity in a mass-cultural public sphere. The final chapter concludes with a reflection on the changes in the forms of net art and its place in the field of contemporary art that followed the first phase of net art, the central focus of the dissertation. While acknowledging the transformation of the online environment brought on by social media and other “web 2.0” technologies, the chapter argues that the question of whether computer networks can function as a digital public sphere remains an open and contested one. The dissertation as a whole thus provides an historical account and critical analysis of internet art that encompasses not only its technological evolution but also its confrontation with the claims of publicness upon which our understanding of computer networks, and the art made on and about them, are founded.