東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Art on the Internet and the Digital ...

Driscoll, Megan Philipa.

FindBook

Google Book

Amazon

博客來

Art on the Internet and the Digital Public Sphere, 1994 - 2003.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Art on the Internet and the Digital Public Sphere, 1994 - 2003./
作者:	Driscoll, Megan Philipa.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:	367 p.
附註:	Source: Dissertation Abstracts International, Volume: 79-10(E), Section: A.
Contained By:	Dissertation Abstracts International79-10A(E).
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10824147
ISBN:	9780438005938

Art on the Internet and the Digital Public Sphere, 1994 - 2003.
Driscoll, Megan Philipa.

Art on the Internet and the Digital Public Sphere, 1994 - 2003. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 367 p.

Source: Dissertation Abstracts International, Volume: 79-10(E), Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2018.

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 coalesced 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 specific 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.

ISBN: 9780438005938Subjects--Topical Terms:

2122701
Art history.

Art on the Internet and the Digital Public Sphere, 1994 - 2003.
LDR:03245nmm a2200337 4500 001 2166315
005 20181203094403.5
008 190424s2018 ||||||||||||||||| ||eng d
020 $a 9780438005938
035 $a (MiAaPQ)AAI10824147
035 $a (MiAaPQ)ucla:16728
035 $a AAI10824147
040 $a MiAaPQ $c MiAaPQ
100 1 $a Driscoll, Megan Philipa. $3 2103756
245 1 0 $a Art on the Internet and the Digital Public Sphere, 1994 - 2003.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2018
300 $a 367 p.
500 $a Source: Dissertation Abstracts International, Volume: 79-10(E), Section: A.
500 $a Adviser: Miwon Kwon.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2018.
520 $a 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 coalesced 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 specific 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.
520 $a 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 Jurgen Habermas. The dissertation thus reviews Habermas's model of the classical public sphere, and its most significant critiques, in order to interrogate the terms of a digital public sphere.
520 $a The dissertation also engages 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 systems of control. As a whole, the dissertation 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.
590 $a School code: 0031.
650 4 $a Art history. $3 2122701
650 4 $a Web studies. $3 2122754
650 4 $a Political science. $3 528916
690 $a 0377
690 $a 0646
690 $a 0615
710 2 $a University of California, Los Angeles. $b Art History 0093. $3 2093383
773 0 $t Dissertation Abstracts International $g 79-10A(E).
790 $a 0031
791 $a Ph.D.
792 $a 2018
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10824147