"Net.art" came about by chance in December 1995 when Slovenian artist Vuk Cosic received an email that had been garbled by a software glitch. Amid the chaos of symbols, the only legible phrase was "net.art," which Cosic adopted to describe a new wave of online art and communication. The term quickly spread among interconnected internet communities, capturing a range of activities where texts, emails, and images merged to foster dialogue and exchange among artists, enthusiasts, and technoculture critics.
Net.art wasn't just about aesthetics—it was about connections and conversations, with links and emails forming the backbone of these vibrant communities. From 1994 to 1998, net.artists explored the internet's potential for breaking down boundaries and creating an inclusive space where communication flowed freely. Eastern Europe, particularly Slovenia, was a hotspot, thanks to support from organizations like George Soros's Open Society Institute, which funded media centers and encouraged collaboration.
Early net.art hubs like Rhizome, Syndicate, and Nettime were lively platforms for artists to share ideas and build communities independent of traditional art institutions. Projects like Heath Bunting's Kings Cross Phone-In and Jodi.org's experimental websites pushed the boundaries of what online art could be, playing with technology in innovative ways.
Despite the enthusiasm, commercialization and the rise of corporate influence on the internet began to challenge net.art's sustainability. In May 1996, a group of net.artists met at the Net.Art Per Se conference in Trieste, Italy, to discuss the movement's future. The meeting highlighted the spirit of social engagement and artistic innovation, but as the internet landscape shifted, net.art had to adapt to a rapidly changing world.
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