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<nettime> *korporat fasc!zt net art questionnaire!*
Josephine Berry on Wed, 26 May 1999 18:17:48 +0200 (CEST)


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<nettime> *korporat fasc!zt net art questionnaire!*


Attention all Net Artists and Net Art Enthusiasts

*korporat fasc!zt net art questionnaire!*


Brian Goldfarb recently said, in a post to Teo Spiller's Net.Art Trade
Forum <http://www.teo-spiller.org/forum>:
"But perhaps what we will see is the education of a new type of
sponsor--likely a sort of corporate representative rather than a collector.
To loosen their wallets we need a more extensive intellectual apparatus.
Net.art.historians/~theorists are essential to the development of a market."

On 7-11, under the subject header: "the commercialisation of net art", Kalx
wrote: "no".

If I asked f1f0 {AT} m9ndfukc.com about this, it would definitely call me a
korporat fasc!zt nancy  - which I probably am. But then, aren't we all.

Despite all of the above, I am writing a piece for _Science as Culture_
magazine on the political economy of net art and I'm trying to collect some
facts and opinions regarding the 'C' word of net art. If you'd like to
help, please could you answer some or all of the questions below, and mail
them back to me or to this list or (preferably) both.

Please and thank you

Josephine Berry

<josie {AT} metamute.com>

p.s. If you help me, I'll definitely include you in the net.art show I'll
be curating in 2002 for the Whitney Museum ;)

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- -

1) How do you currently support you net art practice?


2) Do you believe that commercialisation is having an adverse effect on net
art?

- If so, what are the determining characteristics of net art that are being
compromised?


3) Is there something like a discrete net art object which can be bought or
sold?

4) Does the sale of a piece of net art necessarily alter the work in and of
itself?

5) Do you believe that institutions should get involved in the preservation
of "classic' net art works?

6) Is obsolescence an inherent characteristic of net art?

7) To your knowledge, what is the highest price ever fetched for a piece of
net art? What was the artwork in question?

8) How do you see the privatisation of the Internet affecting net art?

9) Do you consider the Internet to be a public or private sphere?

10) How does your answer to question 9 influence your opinions about the
State's responsibility toward funding net art?

11) How important has the Open Foundation's patronage been to net art's
development?

Signed the Undersigned
*
Josephine Berry
home and away
15 Durant St
London
E2 7BP
*
h:0171 613 2332
w:0171 377 6949
*
www.yourserver.co.uk/crashmedia

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