The aim of my work is to investigate the conditions of contemporary art and self-colonising tendencies in the production, perception and circulation of art between the online and offline space as well as the theoretical, contextual and political background of this process. The self-promotional character of mediating my own artwork over the internet is given by the widely used technology options, the preset architecture of web content for distribution of visual content, as well as the dominant aesthetic canon of documentary artwork and exhibitions dictated by influential visual blogs from the Contemporary Art Daily to the Ofluxo , Tzvetnik or others. I recognize the artistic practice in this context as an aesthetic loop and the accelerative impotence of a digital image given by the political conditions of information technology. The practical output of the work will consist of two textile objects.Design of objects and the DIY part of it will be created by me, but the objects stiching will be realized by Slovak designer / model Michal Šumichrast, who creates his own branding under the name SUMICRAFT. I think that the aesthetics and the process of producing his work and life itself corresponds to the social policy of the new global class of cultural producers. His artistic practice is contextually similar to my practice and to the social / political economic issues of the current precariat class that I examine in my theoretical and practical work. As a final result of the research the objects will be documented in "high resolution" and sent back to the Internet. Either in the form of an Instagram post, or as a self-colonising process within some of the "most up-to-date" online platforms for contemporary art.

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

Universiẗat, Diss.--Tübingen, 2007.

The thesis on the use of digital graphic techniques in the medium of painting consists of the theoretical and practical chapter. The theoretical chapter contains an overview of the new media problematics. It deals with the origin and evolution of post-internet art. The thesis is completed with basic topics of art trend, technique and display possibilities. The world's most famous artists and exhibitions are mentioned in the text. It also deals with hyperrealism and its common features with the post-Internet. As part of the practical chapter, there are three graphic designs created in Adobe Photoshop digital graphics software. Two of those designs were afterwards hyper realistically re-created with oil paints on canvas. The thesis contains pictorial material documenting the whole process of realization.

This work explores norms of dress design by the use of post internetaesthetics in mens underwear. The exploration of underwear is based onmethods formed to create a wider concept of how mens underwear couldlook like regarding shape, color, material and details. Explorations of stereotypical and significant elements of underwear suchas graphics and logotypes has been reworked to create a graphical identitybound to a brand. This is made to contextualize the work aiming to present new options andvariety in mens underwear rather than stating examples using symbols orstereotypic elements. In the making of the examples for this work the process goes front and back from digital to physical using different media to create compositions of color, graphic designs and outlines using transfer printer, digital print, and laser cutting machine.

Through the study of Kwai, a popular short-video social media platform in China, this thesis investigates the social issues, media class divides and aesthetics specific to Kwai culture. It further proposes a strategy of artistic practice - parallel narrative - an experiment in video art production and editing techniques that explores new possibilities of narrative in video art. Integrating theoretical research on Post-Internet art and object-oriented ontology, this thesis reveals people’s ability to digest multisource information and shows how mobile technologies and open-source materials contribute to the formation of parallel narratives.

TITLE: Contemporary art at school - post internet age AUTHOR: Nikola Tora Dvořáková DEPARTMENT: Department of art education SUPERVISOR: Ph.Dr. Leonora Kitzbergerová, PhD. ABSTRACT: The thesis - Contemporary art at school - post internet age is about current arts occasions, concretely Post internet art. I try to state and define this kind of art and place post internet art to context with art education afterwards. Specific art pieces and their similarities in related zones of art are reflected in didactic transformations. The research is focused on difficulties, which can come into the art education lessons. It is realized with different methods, on different kind of school. In concluision my original art piece is bringing more comprehensive knowledge about post internet art. KEYWORDS: Contemporary art, post internet art, interpreter vs. consumer, new media

The Longest Journey is an experimental Master essay which consists of 27 images with accompanying texts. Part of the images are digital photographs and part of them are images created through a special process involving different software tools – mainly Adobe Photoshop and Google Earth. The texts comment on how the images themselves were created and how one might understand what they are and how they function as aesthetic objects and as potential catalysts for thought. / <p>The essay was published as part of a Master of Fine Art Degree exhibition with the same title. For an English translation of it and photographic documentation of the exhibition, please contact: markus.bowie@gmail.com</p>

The dissertation thesis studies the extension of the context of the term model as a means of interpretation for Czech and Slovak post-conceptual works of art. Based on result of a historical excursion into the history of painting, sculpture and architecture, the thesis offers a new typology of a model which is exemplified on particular work of art of Czech and Slovak post-conceptual era in the first two decades of the 21st century. The historical part of the thesis concludes the following: model in the art is an emancipated form originating from different academic as well as layman discourse; emancipated model has a methaphorical layer and thus it reflects wide historical, cultural and social relations. The categories proposed include: a linear model, a physical model, a cognitive model and an immersive model. The linear model encompases the sketch themes and so-called visualization metaphors (graphs, charts, schemes, etc) and originates as a reaction to information saturation and complicated networks. The physical model is a form to architecture and hobby modelling, it is characterised by a simple, „sketchy“ structure reacting to social themes and individual and collective memory. The cognitive model points to the cognitive turn of the society, it evaluates the materialisation of mental space and explains the emancipated model as an open category. Finally, the immersive model interprets the medium of exhibition as a model form which is articulated by and artisitic manifesto or an architectural interference. Another form of immersion that is being discussed in the chapter about immersive models, is a photographic or 3 D computer illusion as a reaction to society‘s virtualisation. Simultaneously to theoretical-historical research, an artistic research was taking place which became the basis for the creation of different categories and typologies of model. Each proposed category thus includes a so-called author‘s note reflecting the practical part of the dissertation thesis.