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Thesis Info
- LABS ID
- 00763
- Thesis Title
- The Transformative Nature of Networks within Contemporary Art Practice
- Author
- Garrett Lynch
- E-mail
- garrett AT asquare.org
- 2nd Author
- 3rd Author
- Degree
- PhD
- Year
- 2018
- Number of Pages
- 387
- University
- London South Bank University
- Thesis Supervisor
- Dr Maria Chatzichristodoulou
- Supervisor e-mail
- chatzicm AT lsbu.ac.uk
- Other Supervisor(s)
- Dr Annet Dekker
- Language(s) of Thesis
- English
- Department / Discipline
- Networked Art - School of Arts and Creative Industries
- Copyright Ownership
- Creative Commons by Attribution
- Languages Familiar to Author
- English, Irish, French
- URL where full thesis can be found
- http://researchopen.lsbu.ac.uk/2924/ or https://hcommons.org/deposits/item/hc:24123/
- Keywords
- Networked Art, systems theory, Networks, framework, contemporary art
- Abstract: 200-500 words
- Since the introduction of the World Wide Web in 1991, it has had a significant impact on contemporary art. As a consequence, however, networks are almost exclusively considered as technologically determined, art produced is digital, refers to the internet and is more often than not specifically web-based. This research redefines the role of networks in contemporary art. It proposes that networks are not a specific technology that provides a means for art practice to occur but are a concept that transforms practice and enables a networked art.
Networked art is a continuation of twentieth century developments in art including cybernetic art, systems aesthetics, new media art and relational aesthetics. The research discusses these and considers how practice became systemised through strategies such as the dematerialization of art as object (Lippard, 1997) and the renouncement of objecthood (Fried, 1998). Equally important is the emergence of cybernetics and systems theory that explained concepts such as process and behaviour frequently employed in art practice. By defining a network as a type of system, networked art is foremost concerned with connections or links and considers the resulting behaviours that occur. Networked art is therefore not centred on networks as form. It can adapt as technologies evolve over time and as such is considered post specific technologies and the disciplines connected with them.
Emerging out of my ongoing art practice this practice-led research makes an original contribution to knowledge in the field of contemporary art in three ways. Firstly, it demonstrates how networks in contemporary art do not have a basis in a specific technology since they have been employed before current technologies. Secondly, the research explains networked art through the development of a framework and practice as research that informs each other. Thirdly, the research discusses emergent processes, themes and content and clarifies how networked art positions itself within current contemporary art discourse as a post-disciplinary practice.