Projects and essays born and developed online, transposed onto paper like a species of web fossil

by Constant Dullaart

This speech was dictated to my computer add to speech recognition software on 27 August’s 2011 I chosen this format of the dictate that the rants and do illustrates the miscommunication and confusion in word or definition of the Internet within our content at the contemporary arts practice them at the moment I’m sitting alone in my room and or exceeding my studio and I’m lying on the floor talking to the ceiling butts to the way that I talk is translated by the software into a long piece of text might within the syntax of spoken language of course is completely different than written language so there are no periods! School mouse or the like but this is the emphasize the problem with the translation between media the Internet as a medium as a networked medium is a challenging medium because it’s the first time that so much artwork but also so much representation of the world around us is experienced in private most of the time you sit at home alone experienced the new Iraq, loaned actually behind the computer alone an experienced the news contemporary arts all these the messages from friends your social life while you wear are alone at the computer this creates a need for the social or group meetings this for example also causes the popularity of a thing by BYOB but not only the idea of experiencing art in private and experiencing net art in private but also the availability of its big continual availability of its them causes that problems translating this to the context in which most contemporary arts are still viewing these problems our or have been there for the last 20 years and the efforts that were made to overcome these gems is sure that translational problems them our but there were other many of them visit the bad eToys Jodi’s view although most of the order most people that read this text well no older the efforts that were made but them by now it seems as if the more more and more curators I speak to are using the term Internet arts also for works that on the board have a more and more vague relation do the incidents for example the use of the word Internet and post Internet is for me a very confusing one because of course it suggests at the idea up after the Internet as if add there was something resolved already but the course in its use it’s because you accept the idea of the Internet in our daily life and as a cultural input and the accepting the idea that the Internet is changing our daily approach or approach to aesthetics that and in that sense of course it is also valid but how come there’s more and more miscommunication about this outcome does more more confusion about the Internet art if of course the term is was already that specific but I think that it’s not so much most Internet but the more intimate nowhere aren’t most of it and a lot of the Ark in the presented within the school text is actually computer art or computer related arts and if these terms would be used more specifically I think we would then create a larger impact for these works and they would fit better with in a larger cultural and artists or who can but let’s say that there’s still problems of documenting works that are natively within a networked circumstance that there’s problems archiving them because most of them are still ephemeral and their surroundings change then if they’re within Google or YouTube or Facebook their surroundings to change a law to graphic the interface changes then and these things are very hard to the place within a larger the contemporary arts discourse because it is so fleeting and so he said his the while the federal so so not only do the the way of exhibiting his problems also the archiving these works also storing them also protecting them or the the elements may they be digital or may that be natural the is the day a very big part of the of this discourse so if trends like more traditional ways or accepted forms of art are being used do the to present these works that’s one thing but if these traditional forms by themselves become cold Internet art again and that relationship to the Internet as more and more vague this becomes disturbing and almost insulting two the people that were actually the still trying to emancipate the medium with in this larger contemporary art practice because I feel this is the most important medium that of our time them most representation of the world around us is being experienced through the computer at the moment through a network the done surrounding this is something that has never been done before to experience so much repre sentation individually then these kind of things are very necessary to I discuss with in the contemporary arts how come these the the things won’t be discussed and people fall back on more traditional even more nostalgic forms of presenting arts of course that this can be a part of your arts practice it’s also part of my art practice but please let’s they care about these definitions I’m continually talking to bad people about these definitions because there’s so much Ms. confused there so much miscommunication and confusion about this so therefore I would like to ask people to be more precise about what they’re doing or actually about which work and what were doing what then even if it’s floating between several things of course I understand that you don’t want to be boxed in and don’t want to be the but Seyed defined the nature work shouldn’t be defined but them but for me the hardest thing is to see all these efforts that were made even by the the the conceptual artist in the 60s but also by net artist in the 90s see them also always almost insulted by easiness that now things can be called Internet arts for a translation of Internet art wow they’re actually computer are 12 actually just the relationship to the Internet of course the Internet chains and of course it’s not only about the nuts and bolts and what but the thing is that there’s still these core problems the core problems are still the same it’s not and that even with all these newer additions it’s not that new it’s not that new that you don’t care about the nuts and bolts and more them they were social networks before there were social circumstances within these networked environments in the 90s Facebook is of course a new thing and it’s the influencing of things but these things were used in the 90s and then I have on that site I find it hard that these problems are not the finding its way into then museums into the galleries and that’s the more and more people tend to make gallery the related work and choose save safe options I think then what we need now that there’s more and more attention for this kind of works and people realize that this is the most important medium in our time also for the arts that’s the there should be we should seek for creative and I’ve larger solutions that would involve then new approaches to dealing with showing these words that are the Borg are basically only the the existing within these network circumstances of the World Wide Web or the incidents

Constant Dullaart (1979) is a Netherlands-born artist who lives and works in Berlin. Focused on visualizing internet vernaculars and software dialects, his practice constitutes a political approach critical of the corporate systems influencing these contemporary semantics. Editing online forms of representation, and the user’s access to it, he creates installations and performances online and offline.
His work has been published internationally and exhibited at venues such as MassMOCA, UMOCA the New Museum in New York, Polytechnic Museum in Moscow, Autocenter in Berlin, and de Appel, W139, and the Stedelijk Museum in the Netherlands. Dullaart has curated several exhibitions and lectured at universities throughout Europe.