Your 
Cyber World Clock

 

 

Saturn Links
-
a Webists Triadic
Site Show, 2004

DEFINITION & DESCRIPTION OF

OR THE VIRTUAL ART OF  




(This page was launched in March 1997 and is the first published use and definition of "Webism" as described  here by Pygoya as a new "-ism" of  fine art.)

Webists consider themselves free spirits who create for all mankind with the hope to promote understanding and harmony among all men.  Noble goals for idealistic artists. - Larry Lovett (MS.Ed, Columbia University)

Calling eArtists to JOIN Webism!
Thoughts on the emerging Webists, Jan. 2004

The Webists' Manifesto



as declared in the first Webists exhibitions - Frankfurt, Germany; 
Vienna, Austria; Budapest, Hungary, November 2003

Webists Art Tour 2004 (Paris?) ????   Inquire Now

 

Online exhibits dedicated to contributing cyberart, or digital art made
for  experiencing on  the Internet.  Evolving  from   "computer art"  to

"digital art" to "post-modern digital art" to "cyberart" (Webism), the
goal is to create art  that acculturates  by establishing  an indigenous

art for  online  global cyberculture,   thereby also  initiating  a startup
art history,  derived from the Internet. 
- Pygoya 1999


VRML art museums of cyberart, digital art, & animation offers online museum experience as indigenous cybercu

this page a part of
Truly Virtual Web Art Museum

Art.Net Links: Online Art References: Museums

Insanity is doing the same old thing, the same old way, while expecting different results.- Albert Einstein

 


1. Art that is displayed and exists only in virtual or Cyberspace; the original art from which imagery is printed out (copied) or derived (downloaded).

2. Currently, the virtual space of the World Wide Web on the Internet is Cyberart's domain.

3. Through the breakthrough of technology and specifically telecommunications, art that can be experienced globally and from different locations at the same moment in time; real time,  online art experience from a global audience.

4. In current artists' application, "art" of the visual type, such as digital imagery, although the definition is broad enough to include the conceptual, which may be totally nonvisual in its aesthetic content.

5. Art that emerges naturally from within the new global online society as it matures; evolving and cumulative online cultural artifacts.

6. Art that intentionally creates cultural statements through study of the social sciences describing the nature of the virtual community.

7. Creations of a specific group(s) emerging from cyberspace that work within the narrow definition of "art" as defined here and call themselves the "Cyberists", developing the works and concepts of "Webism".

8. For the Cyberist Pygoya, his visual cyberart is either "cyberpaintings", online digital rendition of actual computer art paintings (oil on canvases) in the physical world, or "cyberdigital" works that have no cyberpainting counterparts  but are original digital or electronic imagery.

9. Online art that conjures up the experience of  "art appreciation"  from its novel Internet content as the subject matter or concept for the work.

10. Experiment with new visual effects invented through computer graphics, incorporate these elements into historically new visual art and historically introduce the works first to the Internet audience. (ex. "Bandwidth", 1997)

11. Inclusion of multimedia approaches for creating online aesthetic experience.

12. Direction towards interactivity of art with the viewer's broad perceptual powers and  cognitive abilities. (ex. Stereogram Gallery and Puzzle Cyberart)

13. Art that assists in the development of a sense of  online community through shared cultural and visual experiences and values.

14. Art that expands online interpersonal communication  beyond the limitations of text-only communication, increasing the capability for qualitative and subjective mutual responses rather than the quantitative and descriptive character of online commercial art.

15.  Still graphic imagery, such as JPEGs and GIFs, that fulfill aesthetic needs of the Internet before multimedia art forms are fully developed , affordable and commonplace on even  small personal homepages.

16. PreModern, Modern, and PostModern imagery recruited from the real world of this and past centuries that  1) foster visualization of  the present day Internet , 2) relate it to the physical world cultures as virtual surrogate communities  and 3) serve as predecessors of visualizations yet unborn by yet invented or developed technologies.

17. "Output", including computer printers, lie outside the cyberart  realm of  virtual presentation.

18. Cyberart exists outside our notion of three dimensionality such as the location of a specific object in time and space.  Upon  multiple browsers' requests the original cyberart can replicate itself to reside simultaneously on monitors screens scattered around the globe.

19. After removal offline  or virtual extinction  great cyberart continues to live within the minds /memory of those fortunate to have witnessed it online.

20. Like HTML, hidden behind its visual translation interface is the "genetic blueprint" of the art in binary code /program languages. This is the form the art takes during transmission throughout the Information Highway.  Conceptually in such an elementary and pure form it is  in itself a thing of beauty (from such "compositions" pixel  "rendition"  vary according to the variability of monitor viewing characteristics).

21. Going virtual or cyber as a computer artist involves moving mentally to new ground to gain a fresh perspective for making.

22. Exposure to online cyberart has the potential to generalize viewer affinity into an appreciation of all art forms offline.

23. Cyberart is yet another vehicle by which the mature artist can teach and share what he has learned about the nature of  art.

24. Leon James, Ph.D., writes that "spiritual psychology studies mind through self-witnessing of one's thoughts and feelings on the daily round of activities."  An artist's work by such definition is spiritual to the artist since one's self-witnessing of thoughts, feelings and values are projected into the work.  By selective clicking to access favorite online cyberart the browser is self-witnessing one's interest, judgment and reflection on his or her reaction to the art, thereby "creating the opportunity for moral self-assessment".  Therefore, at a certain level, engaging  virtual art has the potential to become a spiritual act.  "A popular Web site is a spiritual beacon for netizens." (James, 1996)

25. New integrations between fine arts traditional motionless paintings and movement, such as animation (ex. "Mona", 1997)

26. Incorporation of Internet theme, content or subject matter into traditional art media even without any digital art element.

27. Exploring the virtual display space of Web browsers (ex. "Dipstick", 1997); using automatic scrolling of the html page

28. Mirroring virtual communities life events or problems (ex. "Invasion of Geocities.com", 1997)

29. Join/participate in a virtual community to get a first hand experience and interact, develop friendships with virtual neighbors (ex.Geocities.com/SoHo/9650)

30. Reach out to other artists populating the Web to share opportunity to promote and create cyberart experiences for all (ex. Webmuseum Cybercolony Awards)

31. Experiment with interactivity with the browser even if he or she is not an artist

32. Experiment with using the full screen HTML page as a cell of online animation (ex. Page=Cells, 1997)

33. Create linked art exhibitions that span the global network; the viewer must travel the entire virtual planet to take in all the shows (ex. GREAT!)

34. Gradual transformation from real world computer or digital artist to cyberartist comfortable and productive in an online virtual environment, keeping "one foot" in each of the realities.

35. Virtual exhibition space dedicated to preserving the creative work and spirit of all deceased artists; irregardless of "success" as an artist in his or her lifetime; as in the Mausoleum Art Museum

36. Virtual access of all art that assists in global cultural acculturation and homogenization.

37. All art from the physical world that is adapted to exist in online virtual space.

38. Making cyberart is a love affair with the every growing power of creative applications of evolving Internet technology, thereby prioritizing multimedia interactivity over static imagery

39.The Web opens up unlimited fields of knowledge to the artist searching for inspiration through exposure to new subject matter-without leaving his or her art studio-desktop (ex. Webmuseum Cyberculture Research Library)

40. Symbolic of the magic of cerebrally escaping from one's daily desk and routines of drudgery; making, in the long run, the worker more productive by contributing a source of enjoyment and sense of nonconfinement on the job.

41. Utilizing inevitable downloading time as the moment of aesthetic expression, thought and transmittance (even at the expense of negation of the "document done' objective)

42. Mirroring back a Website's banner links, its satellite outposts on spidering across Cyberspace, in some type interactivity with their Web site mothership

43. Telecommunciation connectivity between the Internet's Cyberspace and Outer Space

44. A personal computer opening screen meshed with the Internet as a mutant graphic interface concoction- the Web Site Desktop bookmarker, invented November 25, 1997 (Pygoya)

45. Establishing a menu of "tours" of a large Web site (such as our Webmuseum) based on estimated browsing time, thereby providing convenient and varied previewing "chunks" of information. In a sense each tour is in itself a "Web site" experience should the browser never return back to the larger "mother Web site"

46. Creating global based real time online REAL "meet the artist" receptions for online art exhibit openings; such as Debbi Germann's historic VIP Suite Gallery (Pygoya Webmuseum of Cyberart) and chat room reception at Webmuseum Reception Hall on January 1, 1998

47. .Establishing a "web ring" of artists with similar interests in building a new art movement for the Internet founded on creating art born on the Internet, such as Cyberartist Ring

48. Creative thinking that derives new ways to foster site visitors to travel between one or more Cyberart Web sites, besides the use of Web rings.

49. Novel ways to use coveted "awards" and logo graphic icons to increase art Web site interests and promote interactivity among Cyberart Web sites

50. Serious effort to mirror actual museum functions online to manifest actualized museum experience, credibility and service in world accessible Cyberspace

51. "Mirror pages" are identical html pages of primarily text information common to two or more Websites; concept of "mirror images" plays upon "mirror pages" idea with identical but reversed (horizontally) cyberart images at two different Web sites.

52. "Puzzle Ring" binds a group of Web sites by offering just a fragment of a image; collecting all the pieces completes the puzzle image for whatever purpose intended by the sites.

53.Electrons. The new art medium.
Computer chip designers, manufacturers, programmers, and ISPs conspire to create the world's largest canvas. It is called cyberart. The canvas is the net, and we paint it with electrons.
---earl hinrichs

54.The Web Museum will live forever...
CyberArt has not yet been defined, lets see what it is...
Lets help others to see what it is, who'll decide, artist or
viewer?... Yet to be determined...

---Dennis O'Carney

55. Web sites in itself as "works of art'

56. Web sites of deceased artists that remain online in perpetuity as memorial and perpetual contribution to Cyberculture by the universal human spirit

57. Fusion of physical exhibit space and virtual Web display space through art event, interactivity and/or collaboration between the two exhibit realities

57. Artist-In-CyberResidence concept and experimental online activity in that role

58. Specific interaction between physical museum and online virtual museum resulting in new experience of the audiences

59. Providing student artists the opportunity to exhibit in professional vrml gallery space online, thereby providing early learning to assist their development into mature Cyberartists

60. Using the monitor screen for making art instead of paper or canvas

61. Java applet imagery integrated visually with html page background graphic file; thereby creating the illusion of full screen image and animation

62. Accumulating sites' awards as a Web derived  graphics collection which historically documents graphic design,  fads and power and site authoring presence

63. Concept of Internet art as imagery "matted" by peripheral background screen space and framed by the plastic border of the monitor; also "art" as aesthetic experience through interaction among computer hardware, software and the online network with the solitary user/viewer.

64. Full screen animated through narrow horizontal animation GIF file repeated vertically to fill screen size.

65. "Reproduction" - full screen digital image printed on transparency; everything taken out of monitor box and replaced with internal incandescent light source to back light transparency positioned as apparent screen image. At first glance it appears monitor is working, i.e., there's a produced electronic image on screen.   Yet it is only a hardcopy ink print mimicking an electronic image, thus a simulation or conceptual "reproduction" of the real thing.
Artist is planning brick & mortar works using such a reversal,  exterior surfaces of monitor and CPU below it may be painted to extend lit transparency design.

65. Creating a Web site of one's work to develop a presence of art from one's country, thereby adding a location to the expanding network of art of the world.   In toto it is like an online catalog of Earth  Art.

66.  Defining a network within the larger "catalog of Earth Art" as stated in no. 65.  For example the creation of an art ring such as R2001.com that creates "members" and a group identity with a specific agreed upon mission.

67.  Creating a new art collectible made possible through the global reach and exposure of the Internet, such as Snailmail Cards.

68. Some "infrastructure" foundations for a "cyberart" may be found in the meaning of "art"?

69. A possible underlying explanation of "art", hence also "cyberart", through the approach of an art psychology.

70.  Using the accessibility of reviewing artwork on the Internet as "online virtual brochures" to promote cyberart in real world physical exhibitions around the planet.

71.  Cyberart, primarily digital art MADE for aesthetic needs of online cyberculture, can be printed out, framed and matted for brick n' mortar planetary exhibits.  For example, the highly successful "India lst International Digital Exhibition" in Calcutta, India, in December 1999. This celebration of the new millennium show triggered digital art awareness  in India (3 TV networks, 3 newspapers, India Today -national weekly magazine).  Pygoya explained to media that cyberart is digital art used to provide visual culture on the Internet.

72.  Such extended use of online cyberart as in no. 71 triggered further interest in digital art in regions were such art is just emerging.  As a result of printing out the cyberart now there is founded the India Cyberart Webmuseum, hosted by Calcutta's own Web server company.

73. The cyberartists derive their concepts and imagery from the world they live in, see and identify with-the online cyberworld. And this is the world they are taking  into the new millennium.    - Shubhojoy Mitra, India  1999

74. Online exhibits dedicated to contributing cyberart, or digital art made for  experiencing on  the Internet.   Evolving  from  "computer art"  to
"digital art" to "post-modern digital art" to "cyberart" (Webism), the goal is to create art  that acculturates  by establishing  an indigenous
art for  online  global cyberculture,  thereby also   initiating  a startup art history,  derived from the Internet.  - Pygoya 1999

75.  Two or more Internet artists may do interactive projects, such as making changes to each other's works and displaying the collaborative works online

76. Two or more Internet artists can inspire ideas for works of art through their cyberrelationship and mutual support personal artistic effort and ambition.

77. Still images can be incorporated into Java animations and other multi-media special effects developed specifically  for the Internet.

78. Virtual web projects can lead to spin off physical world fine arts offspring.  For example criticism toward Pygoya's 3D cemetery conceptual project online was the inspiration for his design and conceptual modification of real grave markers.

79. Artists can develop personal  "portal" sites where several  links to cyberart content sites can be clustered; for example, centerofcyberculture.com

80.  Cyberartists can work with technicians to produce custom programming for creatively original site content.

81.  The internet provides the opportunity for artists to honor their own kind after death, no matter the level of financial success or formal recognition given to their work and efforts; for example the concept of  forevermuseum.com

82.  Through unlimited memory web sites, the quantity and breath of digital art can  grow and grow within a virtual museum, eventually displaying a vastly larger permanent display of the medium than any "real world" museum can physically exhibit.

84.  Through the years, scattered across the Internet, is the history of the evolution of digital art and its growing maturity through artist experience and sophistication in handling of the medium as well as development of his technological tools.

85.  The Internet enables the artist, cyber or otherwise, to completely document his  artistic explorations, life body of works, as well as his life; for example Pygoya's Journal.

86.  Cyberartist can serve as "experts" and assist real museums to showcase online digital art; such as the First International Cyberart Exhibition curated by Pygoya.

87.  World wide shocking events can now elicit global artistic production  as artists react to the news; for example of the proliferation of exhibited online works following "9/11"; common human feelings such as despair transcends national boundaries and ideologies.

88. Like any other type of artist, many mature cyberartist take on the subject of inevitable death in their work.

89. Many web sites remain after abandoned by the artist or after his death; documenting his efforts through display works, even if the tangible works are lost or destroyed.

90.  As the electronic tools become more and more sophisticated, ideas of the cyberartist become more important than the  simulation of professional craftsmanship.

91.  Even if a cyberart print is sold  to a collector, the copyright remains with the artist- the  buyer has no right to make copies.

92.  The original cyberart work exits in online cyberspace; prints are "documentary  reproductions" to share the online image off line  with physical inhabited space.

93.  Much cyberart is lost forever before uploaded into Internet cyberspace because hard drives crash and no back ups where made.

94. A derivation of cyberart is the production of "cyberstamps," a type of the more general activity of producing "art stamps" by artists prior to the advent of the Internet. For example Pygoya's Cyberstamp Set.

95.  The development and availability of the Epson 2000 makes production of archival quality prints affordable to digital artists; inkjet ink that doesn't fade for over a hundred years makes it desirable for collectors.

96.  Through experimentation with graphic software, cyberartists have the opportunity to create a totally new expression and vision of the Nude. For example, see Pygoya's  sample work done strictly with integrated softwares' cumulative effects.

97.  Collaborative effort by a group of cyberartists can produce a world tour of their group exhibition of printed cyberart, for example East Hawaii Cultural Center's World Art Tour after the completion of the museum's print exhibition.

98.  Earlier standard  graphic file jpegs  displayed on HTML pages can later evolve into actual virtual reality gallery simulations.

99.  Web sites and pages with outstanding cyberart eventually become globally  networked through other art interest sites, most of the time unknown by the artist; for example a recent search engine check indicated lastlace.com had almost a thousands links attached to it.

100.  With the barriers of different written languages limiting communication among all people, cyberart plays a crucial role in the sharing of human commonality of feelings, concerns and spirituality.

101. Using multimedia tools such as Java and Flash animation

102. Call for entry around the world  for online show with common theme, such as "public hair" as subject matter by experimental artist in Lichenstein, 2002.

103. Continued long term development and production of Webism's cyberart, such as Pygoya's "2003 Cyberbabies"

104. Creating online portal sites that group cybercultural Web sites, such as centerofcyberculture.com

105. Concept of signed, limited print editions as Web art  "reproductions"

106. Attempting Web based art to be showcased in traditional museums, then documenting online responses by officials.

107. Museum show of international Cyberists who in turn organize local shows in their region to expand show visibility outside the Internet platform and audience. Example: EHCC World Traveling Show

108. Innovative Web site concept and design to expand Web resources for global cultural needs and reach, such as eobituary.com

109. Create sites that provide permanent visibility to deceased artists' works and archive their creative efforts such as planned ForeverMuseum.com, here the idea that anyone who attempt to create art, no matter how "bad" or "insignicant," deserves recognition.

110. Combining global group effort in collaborative image processing using artificial intelligence and graphic editing /modifying tools.

111. New concept - Title a digital cyberart image, printed and displayed in a physical world art exhibit by it's Internet address (url). As such, the print is a nondigital "reproduction" and titled to reference the original digital cyberart that can only exist in the realm of online cyberspace. Example, in 2003, a framed print  entitled -

pygoya.com/aha1.htm   -  "www.pygoya.com/association of hawaii artists, work no. 1. htm" Going to the url may include other details about the exhibit and the piece such as any reward and newspaper review.

This new web site for 2003 identifies the artist.  Searching "pygoya.com/index.htm" will display all the web-based art exhibited in physical exhibition space as secondary prints of the original digital imagery; thereby serving as the "Exhibitions" record of the artist.  Besides such cross-referencing of physical shows, a link is made to documentation of the Webist's online virtual past and permanent art displays.

112. Like a cooking recipe, decades long continued mixing of effects of different graphic software packages to evolve a current artistic 'style.'

113. Included in the cooking recipe, is past digital images by the artist, enriching new graphic software through past art results as works in themselves but now malleable into new imagery through current software possibilities. Older works also bring into the mix graphic digital nuisances not possible with newer software as past graphic software quirkiness or special effects may be eliminated by new software packages. 

114. With the passage of time, Webists have pressure to launch new works into virtual space, or have their Web sites and art suffer from rapid obsolescence, at least from a viewing point of view (the images themselves may stand the test of time for aesthetic quality).

115. "Web art" can expand far beyond mere online imagery. In fact some virtually eliminate imagery and focus on human experience and interactivity, as for example the value orientation of network aesthetics of the  Ars Electronica European organization headquartered in Austria.  Here, Pygoya instead consciously works to continue bridging fine arts media traditions of the past centuries with the new millennium's global gallery stage available through the Internet. Therefore the critical inclusions in his new works on surface, texture, and lighting to simulate painted oils and watercolors at a level that would deem them worthy of  physical walls of museums and galleries.

116. Pygoya bridges painting, drawing and sculpture (all which he has done in the 20th Century) with online digital fine arts.

117. Just as dance can include the element of acting through gestures and facial expression, so can the artist project his persona through his visual artworks through gesture and expression.

118. Strong work and public recognition of an artist can attract other artists who desire to co-exhibit with the latter, thereby fostering more visible work as an emerging group of digital artists with compatible art that gives the exhibits consistency. 

119. Webists have to realize that all of their work is being pirated online without their notification. Therefore until universal technique is developed to prevent this, the best quality of works can be kept in possession of the artist by submitting online smaller versions of the original works on disk.  Ideally, however, the Webist places the original size and resolution online for all to appreciate in virtual cyberspace, thereby in a sense, permitting his work to be sacrificial lambs for cyber-art's sake, keeping the artist the proverbial "starving artist," even here in cyberspace of the Internet.

120. Through time, some of the more popular art Web sites will attempt to claim authority as 'judges' of other artists' work. They are invited to submit work for judging and compete for worthiness into these judgmental exhibitions at the more trafficked sites.   And as such the Web continues the "recognition" of  art quality through the value judgment of some "expert" at the cost of "rejecting" the less fortunate.  Online, some things don't change for the aspiring and developing artist.

121. Art can be made to help sustain the creator's livelihood. The image can be promoted online to attempt sales there or in the physical world. This scanned "reproduction" may impact Web surfers' senses upon acquaintance with it online, thereby becoming a moment of e-cultural assimilation for the site visitor.

122. As such, Web art does not always have to be digital and created solely for the Internet audience, to be effective as online cyberculture. Placing the work in front of an accessible audience if the important issue.

123. More important than a pixel based image is the visualization of new imagery, for both online and offline display.  A digital image can be rendered manually into an exacting image replication in oils on canvas.  With a master artisan-painter, the digital original cannot be discerned from the oil copy, at least at first glance or scrutiny under the magnifying glass.  However, digital means can assist in the visualization of imagery impossible to emerge from the artist's manipulation of ideas with a computer.  The digital image can also include an intrinsic character of  the software used to create it,  just as watercolor and oil can add their own visual flavors in the visual elements of works in these media.

124. Besides contributing to online cyberculture, Webists of course are free to make income also for their time, effort, and talent through online as well as offline sales opportunities and self promotion, such as the marketing of CDs, DVDs, prints and derivative oil paintings that copy the original digital imagery.

125. Control and independence through self recreated and maintained Web site can be a counterbalance for artists embroiled in the local art club politics and petty jealousies, as well as limitation of digital art acceptance and support within their geographical hometowns.  The artist has the opportunity to network online as well as offline and then integrate both networks.

126. A powerful means to networking is the mutual linking of art sites until linked paired sites cluster into larger linked aggregates, which in turn link with other art linked clusters, all leading to a major linked cybercultural network.  

127. Involving in linking can eventually identify cyberart with major visibility through long term clustering networks, becoming major "stars" within the online cyberculture galaxy.

128. It makes good strategy to up eyeball taffic online by copying art original presented online for physical location presentations with accompanying link information to the original online source. In this way too online cyberculture is contributing to physical fine arts culture; long term, the two may fuse and become inseparable and indistinguishable from each other.

129. A catalog of thumbnails can be the first impression of works available as tangible collectibles (off line). As such, they provide the intial expression and perception of the physical works of art.  The digital images provide a bridge to actual physical paintings. The digital representations need not be reproductions of scanned or photographed paintings but original digital Web-based  art that were made into painted canvases ("original" paintings but also "reproductions" of original digital imagery). Or the digital image can serve as 'design' from which actual paintings can be commissioned and executed, thereby serving as digital painting proposals.

130. Such physical paintings derived from original online digital image catalogs can then be photographed and  uploaded and displayed as 3rd generational digital derivations.

131. Such 3rd generational digital images can be altered with software into 4th generational derivations, furthering themselves from the visual footprint of the original digital imagery.

132. The thumbnail digital imagery can be rendered to any scale, such as a painted 50' long mural on canvas. Such as offered by Pygoya at www.corporate-art-consultant.com.

133. Digital images can be used as cells for animation on a DVD and a portion of the DVD can be videotaped and played online. Or digital images as animation on a CD can be promoted online thereby adding to the multimedia content of cyberculture.  Collaboration with a composer-musician can add richess to the mix.

134. Webism incorporates aesthetic visual qualities of all fine art media ( for example, ink, paint, ceramic, glass, photography, sculpture, weaving, drawing, paper, film) through virtual synthesis within the digital domain, democratically presented within the framed context of the Internet's real time and ubiquitous global presence.

135. Webism includes artists with affiliation and identity with other art media and historical movements, such as online digital surrealists (such as Bernard Dumaine) and digital painterly Modernists (for example Pygoya).

136. Through time and expansion of content of the Internet, many art sites are abandoned but for various reasons remain retrievable online; even forgotten that they remain accessible by their former webmasters.  Collectively they can be conceived as a growing residual of cybercultural artifacts that litter the Web; waiting for future cyberanthropologist to search and discover, tag and collect, as cultural time capsules of the evolution of Web art, ranging from trash analogous to space junk to historically significant lost treasure.  

137. The majority of art web sites that are not maintained financially, however, along with the artistic content, pass into extinction, permanently lost from online cyberculture. Broken links in search engines and other sites may be the only documentation that they every existed.  Web art indeed can be ephemeral not only as imagery in virtual digital space but also accessibility in the long term.

138. Digital/Web/Monitor art has a visual similiarity with stain glass art and the real sunset/dawn, as all are variants of emitted light entering into the eye, as opposed to reflected light off painting, photographs and metal sculptural surfaces.

139. Present economics limit Web imagery to standard monitor sizes. In the future mural size online imagery may grace our walls, thereby competing for daily living space along with the concrete media of paintings and even large sculptures.

140. Due to the mutability of pixels of the digital image, end users may interactively edit online works to their ideosyncratic preferences.  One easy way is to modify the color/contrast/saturation of one's monitor. 

141. Through a group of artists dedicated to Webism (contributing original art to global online cyberculture), each artist can create projects that expand into cloned similiar same projects by all the artists, each linking the own website based version, thereby creating a project based network and thereby increasing overall visibility (visitor traffic) and project content. 

142. Group calling for art competitions among members, such as the creating of a group logo, can lead to a unique online show consisting of submitted works; for example, the logo competition for "Webism" among it's members (www.artingrid.de)

143. The direction of art movements, June 16, 2004

144. Example of No. 143, "Destination Hawaii" historic global to local exhibition by a member in conjunctin with group online exhibition of common theme

145. No. 144, as different from rationale of  regional group show to promote webart discovery among those not online.

146. Giving prints of digital art to other members attending reception at group show; then asking recipients to scan and post the printed gift works at each respective's web site. As such, the posted virtual image is a copy of the copy of the original digital image which is not online, but on the Web is actually a third generation image. There may be differences in color and clarity of the posted virtual image from the original digital due to variations in scanners.

147. The unpredictable syncopations of visual effects as group interactive online project through tying members' favorite hue to musical notes and creating music which has visual animation online by distribution and flow of the color bars linked to musical score.

148. Projection on large screen using DVD and projection system to promote web art sites, such as was done in Budapest, Hungary in 2004 .

149. Simultaneous physical solo exhibit of a Webist with a virtual global networked group show, both with similiar theme for subject matter, reaching both local as well as online global audiences.
The online exhibit links together a page of work from each of the participating artist Internet sites, thereby composing a show of html pages from servers around the world.

150. Interact with software developers to provide cyberart and Webist's ideas to developer and display in leading edge software application designed for the Internet. Work with beta versions of program development to provide feedback to the programmers.

151. Register and administrate web sites that build group identity and define group goals, provide cybercultural projects, and serve as source of information on cyberart activity. For example, MuseumOfWebism.com and TheWebists.org

152. Spread out a theme show among two or more host web sites, such as the triadic host site exhibition, Saturn Rings by the Webists.

153. Web art serving as examples or data for research on the evolution of new art (digital, digital onoline) for professional level research and documentaton, for example this masters theis out of England. More history of digital art and the internet here.

 


This page mirrored as reference for online cyberpunk culture-

Cyberpunk Project-Cyberpunk in Arts-Cyberpunk has also inspired many artists. The Cyberpunk art is considered free minded and there was no place for scruples, when talking about cyberpunks behind the computer or the drawing board. The erotic mixture of technology and art tickled the deep-inside-cyberpunk artists to creativity. Some cyberpunk art sites-A Cyberpunk Art Gallery -By the Moscow Cyberpunk Club; misery: VII  Great graphics by misery; Cyberpunk Art Gallery- Small cyberpunk art gallery by Kabir Fernandez; Morpheus Blue- Small cyberpunk art gallery by aoi303. References-Definition and Description of Cyberart -Or, the Virtual Art of Webism. By Pygoya

archived page (June 2000)

 


GO to lastplace.com Entry

RETURN to 2D Museum Center - of Pygoya Webmuseum of Cyberart

RETURN to 2D Homepage- Pygoya Webmuseum of Cyberart

RETURN to 2D Gift Shop- of Pygoya Webmuseum of Cyberart

RETURN to 2D Collector's Gallery- of Pygoya Webmuseum of Cyberart

GO to Rave Webmuseum- curated permanent collection of Cyberart from the Internet

Go to Webmuseum Theater- online animation

Go to Webmuseum Cyberculture Research Library- cyber-social sciences for artists, researchers and students of Cyberculture

Close Art Portfolio/History


Footnotes-

July 11, 1996, compiled by the staff of Webfelt Museum of Cyberart

February 9, 1997- (no.9)

April 2, 1997- (no.10)

April 7, 1997-(no.11 & 12)

April 8, 1997-(no. 13-16)

April 17, 1997-(no. 17-24)

April 29, 1997- (no. 25 & 26)

May 17, 1997- (no. 27-30)

June 10, 1997- (no.31-33)

July 2, 1997-(no.34)

August 11, 1997-(no.35-37)

August 21, 1997- (no. 38-40)

September 19, 1997 - (no. 41-43)

November 25, 1997- (no. 44)

December 28, 1997- (no. 45-50)

January5, 1998- (no. 51 & 52)

March 16, 1998-Earl Hinrichs(no.53)

March 17, 1998- Dennis O'Carney (no. 54)

April 9, 1998 - Pygoya (55-59)

April 14, 1998 -Ansgard Thompson, Alberta, Canada (60)

August 6, 1998 - Pygoya (61,62)

October 17, 1998 - Pygoya (63)

December 8, 1998 - Pygoya (64,65)

September 6, 1999 - Pygoya (66-70)

December 30, 1999 - Py (71-72)

January 2, 2002 -PY (101-110)

January 15, 2003- Py (111)

January 20, 2003-Py (112-120)

May 26, 2003-PY (121-128)

July 9, 2003-PY (129-133)

October 16, 2003 - Py (134-140)

Feburary 2, 2004 - Py (141-142)

June 2004 - Py (143-147)

June 28, 2004- Py (149)

July 9, 2004- Py (150-153)