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Internet art can happen outside the technical structure of the Internet, such as when artists use specific social or cultural Internet traditions in a project outside it.

Net artist may use specific social or cultural internet traditions to produce their art outside of the technical structure of the internet.

The term Internet art typically does not refer to art that has been simply digitized and uploaded to be viewable over the Internet. This can be done through a web browser, such as images of paintings uploaded for viewing in an online gallery.

The term Internet art typically does not refer to art that has been simply digitized and uploaded to be viewable over the Internet, such as online galleries.

Rather, this genre relies intrinsically on the Internet to exist, taking advantage of such aspects as an interactive interface and connectivity to multiple social and economic cultures and micro-cultures. It refers to the Internet as a whole, not only to web-based works.

Rather, this genre relies intrinsically on the Internet to exist as a whole, taking advantage of such aspects as an interactive interface and connectivity to multiple social and economic cultures and micro-cultures, not only web-based works.

Media art institutions such as Ars Electronica Festival in Linz, or the Paris-based IRCAM (a research center for electronic music), would also support or present early Networked art.

Media art institutions such as Ars Electronica Festival in Linz, or the Paris-based IRCAM (a research center for electronic music), would also support or present early networked art.

In 1997 MIT's List Visual Arts Center hosted "PORT: Navigating Digital Culture," that included internet art in a gallery space and "time-based Internet projects.

In 1997 MIT's List Visual Arts Center hosted "PORT: Navigating Digital Culture," which included internet art in a gallery space and "time-based Internet projects.

The Perpetual Bed' received attention for its novel use of 3D nonlinear narrative space, or what she called "navigable narratives."

The Perpetual Bed' received attention for its use of 3D nonlinear narrative space, or what she called "navigable narratives."

Her 2001 work in the Whitney Biennial, 'collection' collected items from hard drives around the world and displayed them in a 'computational collective unconscious'.

Her 2001 piece titled 'Collection' shown in the Whitney Biennial displayed items amassed from hard drives around the world in a ''computational collective unconscious' .

Besides these unicast (point to point) applications, suggesting that there is some reference points, there is also a multicast (multipoint and uncentered) internet that has been explored by very few artistic experiences, such as the Poietic Generator

Besides these unicast (point to point) applications, suggesting the existence of reference points, there is also a multicast (multipoint and uncentered) internet that has been explored by very few artistic experiences, such as the Poietic Generator

The emergence of social networking platforms, understood to be "web-based services that allow individuals to... construct a public or semi-public profile within a bounded system... articulate a list of other users with whom they share a connection, and... view and traverse their list of connections and those made by others within the system", facilitated a transformative shift in the distribution of internet art.

The emergence of social networking platform facilitated a transformative shift in the distribution of internet art.