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Post-Internet Art

Post-Internet refers to a current trend in art and criticism concerned with the impact of the Internet on art and culture. Taking cues from the understanding of Postmodernism as a reaction to or rejection of Modernism, post-Internet does not imply a time “after” the Internet but rather a time “about” the Internet. While Net Art of the late 1990s used the Internet primarily as a medium, post-Internet practices use both online and offline formats to engage with digital culture, corporate culture, and the effects of ubiquitous networking.[1]

Vernacular Web
Video presentation by Yn Hsien Chen and Angellque Padua based on the 'Vernacular Web' essays by Olia Lialina.

Vernacular Web is a term to describe websites created in the first decade of the Internet before the dotcom boom, when authoring tools were still basic and professional design online did not exist. The term also describes works that emulate this style. Vernacular Web was explored and written about by Olia Lialina, one of the original pioneers in a series of three essays.

From A Vernacular Web

So what was this culture? What do we mean by the web of the mid 90's and when did it end?

To be blunt it was bright, rich, personal, slow and under construction. It was a web of sudden connections and personal links. Pages were built on the edge of tomorrow, full of hope for a faster connection and a more powerful computer. One could say it was the web of the indigenous…or the barbarians. In any case, it was a web of amateurs soon to be washed away by ambitions, professional authoring tools and guidelines designed by usability experts.[1]

From Vernacular Web 2

I’m talking about everything that became a subject of mockery by the end of the last century when professional designers arrived, everything that fell out of use and turns up every now and again as the elements of “retro” look in site design or in the works of artists exploring the theme of “digital folklore”: the “Under Construction” signs, outer space backgrounds, MIDI-files, collections of animated web graphics and so on.[2]

And today, in the end of June 2007, when we hear of amateur culture more often than ever before, the cultural influence of “Welcome to My Home Page” web pages looks especially interesting. People who created them and their ideas of what the Web is, how it can be used and how the pages should look, these people’s likes and mistakes gave the today’s Web its current shape.[2]

From Prof. Dr. Style (Vernacular Web 3)

[…] there is a way to find pages that live forever in 1993. To present them to the new students I look for "Prof. Dr." in Google. Some semesters ago it was possible to make a life performance with this search. Pages of academics in style were top results. As of June 2010, the magic seems to be gone. To collect enough examples for this article I had to go till result page 110.[3]

Critical Engineering

From the Critical Engineering Manifesto:

The Critical Engineer considers Engineering to be the most transformative language of our time, shaping the way we move, communicate and think. It is the work of the Critical Engineer to study and exploit this language, exposing its influence.

Augmented Reality

Augmented reality is an emerging technology that permits users to see media embedded in physical objects or linked to specific locations in the real world. It is currently available only through custom applications, but will soon be a common feature in every smart device. Just like turning on “wireless’ reception, users will turn on “augmented reception.” How this works is quite logical: an object or image can be designated as a tag. An augmented app can scan an image as if it were a common QR code, which then links a specific app to a particular stream of information coming from the Internet Cloud. [1]


Read Introduction to (1994-1999) for a bullet-point manifesto on the movement.

Supposed origin of the term:

An observation on how net artists lose some control over their online works, by Ben Fino-Radin via Rhizome:

"Internet based digital works are affected by the most fundamental form of infrastructure: the browser. This piece of software is the user/patron/visitor's sole point of access to web based work, yet it is produced and controlled by neither artist, patron, nor collecting institution. Manufacturers of web browsers explicitly define what can and can not be accomplished within the browser window – a rapidly shifting paradigm." [1]