if work invites online interaction in ways that also allow spammers, advertisers, and pornograhy to appear as part of the site, what then? moderation of such interaction is an ongoing job—who will do it? who is responsible for it? if artwork is meant for the public, is the city obligated to remove offensive material or risk legal action? research protection to publisher
if a public art piece is targeted by hackers, what plans for restoration? how secure should site be? is artist/work harmed if site is hacked and public views results?
the same as when a street is blocked off for construction and so the public is denied access—temporarily—to a public art piece? how much downtime is acceptable, at each instance and total?
Source: New Media Art
pg. 24: “The inherently ephemeral nature of much New Media art, we well as its often unfamiliar aesthetics and technologies, posed a challenge to gallerists and collectors. Some artists provide a CD-ROM of other storage device containing a copy of the work (e.g. the sale of a floppy disk containing Douglas Davis’ The World’s First Collaborative Sentence to collectors in 1995). Others produce works that take the form of physical objects, such as John F. Simon Jr.‘s wall-mounted “art appliances,” which recall framed paintings. Feng Mengbo’s Iris prints from his interactive CD-ROMs and Cory Arcangel’s silk-screens of images from his Game art works, have had commercial success, partly because such forms are familiar and relatively easy to exhibit.”
Source: Internet Art
pg. 104: [British critic Josephine Berry on Lialina] “‘Lialina is highly conscious of the location and names of digital files, seeing them as the only index of originality available. In the plagiaristic environmental of the Net, where anyone can clone any web site, the artists’s URL is the only guarantor that one is viewing the “original”, most up-to-date and uncompromised version of the work.’”
Source: Internet Art
pg. 97: “To poach ‘Documenta X’, Cosic used a shareware program that copied almost every file from the official web site curated by Simon Lamuni?re (b. 1961). Like Sherrie Levine’s photograph After Walker Evans and other appropriationist works, Cosic’s clone of the site, called Documenta Done (1997), articulates the technical capabilities of reproduction and raises questions about authorship.