Comments on: Bad at Sports: Hyperjunk Response http://blog.thepresentgroup.com/2012/02/14/bad-at-sports-hyperjunk-response/ Exploring new models of support for contemporary artists, musing on the art world and people who make stuff, and documenting our life running the Present Group subscription art project. Mon, 14 Jul 2025 03:40:33 +0000 hourly 1 http://wordpress.org/?v=3.2.1 By: Nicholas O'Brien http://blog.thepresentgroup.com/2012/02/14/bad-at-sports-hyperjunk-response/comment-page-1/#comment-16445 Nicholas O'Brien Wed, 14 Mar 2012 16:01:03 +0000 http://blog.thepresentgroup.com/?p=2672#comment-16445 These are absolutely correct statements and critiques of my writing. I DO actually overlook the curatorial process that occurs on these sites, and AMP's working with curators that work online and off is a testament to their wanting to move net-based projects forward beyond the scope of online viewing and interact with a non-net art dialog. This being said, I think that the novelty is still in place. Even though there is a history that can easily be attached to the institutional show casing of net art and new media works, the way in which these project are positioned within those collections and exhibitions is still linguistically (at the very least) mired in their own "newness." How artists working online can work against that, or work through it, is a responsibility that I think few take up (and I personally struggle with as well). These are absolutely correct statements and critiques of my writing. I DO actually overlook the curatorial process that occurs on these sites, and AMP’s working with curators that work online and off is a testament to their wanting to move net-based projects forward beyond the scope of online viewing and interact with a non-net art dialog.

This being said, I think that the novelty is still in place. Even though there is a history that can easily be attached to the institutional show casing of net art and new media works, the way in which these project are positioned within those collections and exhibitions is still linguistically (at the very least) mired in their own “newness.” How artists working online can work against that, or work through it, is a responsibility that I think few take up (and I personally struggle with as well).

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