Thesis (M.A. (Hons.))--University of Western Sydney, 1999. / Includes bibliographical references.

This thesis deals with contemporary art movement called post internet, its forms and its presentation within the gallery spaces. The emphasis is based on a complex description of its topics, mailny the problems of its presentation, the corporate aestetics, the radical identification and the post human body. The third chapter describes the transfer of the art from the internet into the gallery spaces and its methods. The last part of this text is then devoted to the Czech post internet art scene and to the negative impact of the internet on the sociaty and the art.

Kelly Michael Donovan is an M.F.A. Candidate in Transmedia in the Department of Art and Art History. Kelly Donovan creates artwork that examines our relationship to digital culture and technology, particularly the Internet. Following the global security disclosures in June 2013, Kelly Donovan created a series of work utilizing webcams, Internet search engines and a list of keywords used for monitoring social media to curate information and images relating to surveillance, privacy and national security. / text

Using the hypothesis that interaction with net art can be categorised, the primary purpose of the research was to generate a taxonomy of this interaction. Emphasis is given to interactive web based works that require the user to participate by contributing material to the piece. An initial period of contextualisation was required to position net art within contemporary arts culture this included an examination of previous attempts at categorising interactivity and the exploration of connected historical art practices. Most previous attempts at categorisation either characterise types of interactive work, or detail specific interactive characteristics the work itself may have. This aim of this thesis was to take an alternative approach by focusing on the interaction itself in order to create a taxonomy. To establish this characterisation of interactivity, several practical pieces of internet art were created that doubled as data collection tools. The main outcome of this project resulted in the development of my own Connected, Partially Connected and Unconnected ( C.P.U.) model of interactivity. This in turn necessitated the examination of the interactive process which resulted in defining a loop of interaction . This loop of interaction specifies several separate phases to the interactive process, the C.P.U. model of interactivity occupying one of these phases. This thesis primarily provides a platform with which to further interrogate interaction with net art. An unexplored area of Human Computer Interaction (HCI) that is specific to net art has been identified and is therefore of use to theorists and researchers working in this area. It is also of use to artists enabling them to better understand how interaction is understood within the context of their own practice.

CRAFT REALITY Handicra vs. Digital technology A mashup with the aim to unify and to expand. A research of the possibilities that appear when I allow textile cra to get a ected by and to interact with digi- tal manipulation and the aesthetic of the world wide web. A study in contemporary and underground art forms, developed by them young or A method of working with techniques and material, once taught by those today seen as them old: Maybe it can be both.

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The bodies of work that I have created during graduate school stem from my interest in mass media, culture studies and spectatorship in the digital era. My research engages digital technology and media studies to consider the ethics and ambivalence associated with spectatorship. Using traditional art mediums, I explore social and digital media, revealing tensions through representation and materiality. This translation from digital to analogue media is pivotal in all my work. Handmade objects introduce slippage and meaning as they break from the limiting format of the screen. This thesis will explore the research and content that inspired the creation of my work over the past three years and demonstrate how the resulting artworks create content and meaning.

During the 1990s, artists started to explore the possibilities of the World Wide Web. This thesis investigates online artworks by studying their agency. Why do people interact with them, as if they are alive? How do they mobilise people, or make them share visions and ideas? Based on research in largely untapped archives, it presents an in-depth examination of several case studies, exploring the artwork's ability to have the power to act in a variety of social settings. Through studying the life trajectory of the artwork, it also offers insights in how these dynamic entities undergo changes over time and across cultures. Grounded in theoretical literature on the agency of art, this research offers an innovative way of understanding Internet art and it contributes to wider conversations about the agency of art and artefacts. Case studies include: Mouchette (Martine Neddam), 'Mouchette' (1996-present). Web project (www.mouchette.org). Collection of Stedelijk Museum (Amsterdam). Shu Lea Cheang, 'Brandon' (1998-1999). Web project (brandon.guggenheim.org). Collection of Solomon R. Guggenheim Museum (New York). Lynn Hershman Leeson, 'Agent Ruby' (1998-2002). Web project (agentruby.sfmoma.org). Collection of SFMOMA (San Francisco).

An analysis and explanation of my reasons for working in video, painting and drawing, and sculpture, considering the technological developments of the past decade; the possibility to use the internet as a distribution tool for works of art, and to shift the decision-making balance of the art-world; the ways that this approach is a democratic format for output in the arts and within communities of artists; an explanation of my studio practice while a graduate student at Virginia Commonwealth University.