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!! 2012-10 \|hlt [../files/img/201012_abecedaire.jpg]\|hl '''nocinema.org''' {br}{br}''' ''In Abécédaire du Web, par/by Joanne Lalonde'' '''{br}{br}'''''livre en pdf en accès gratuit'''''{br}'''pdf e-book, free download'''{br}{br}----'''http://www.puq.ca/catalogue/livres/abecedaire-web-17581.html '''{br}{br}---- '''--> [More info\|nocinema]'''{br}----{br}{br}\| \|2 ''Joanne Lalonde - Abécédaire du Web - 26 concepts pour comprendre la création sur Internet - Presses Universitaires du Québec PUQ / Numérique''{br}''Ce livre présente un répertoire de vingt-six concepts qui décrivent de manière synthétique les enjeux théoriques et critiques autour de la création hypermédiatique, plus spécifiquement les œuvres artistiques et littéraires conçues pour une diffusion sur Internet. Il accompagne une exposition virtuelle du même nom, produite et diffusée par le Laboratoire NT2 de l’UQAM.''{br}''http://nt2.uqam.ca/expositions/abecedaire_accueil ''{br}{br}---- Joanne Lalonde is professor of Art History at UQAM. Her research covers the areas of media arts and network art. Member of the ''Centre de recherche sur le texte et l’imaginaire'' FIGURA and of the Laboratoire NT2 teams, she heads the work of the ''Groupe de recherche sur les nouvelles identités narratives dans l’art hypermédiatique'' at UQAM. Specialized in Canadian video, she is also interested in representations of gender, and in figures of sexual hybridization and of identity métissage in present day art, as well as in modalities of interactivity in contemporary art.{br}"Web Art is an emerging, polymorphous phenomenon. I choose and prefer the term “web art” over that of “net art”, which can be confused with other forms of network art that do not use the web (mail art, faxes, etc.). We don’t have yet the historical distance needed to classify, judge and categorize these works. Neither do we have an overall idea of the corpus involved. Art History, therefore, documents this phenomenon alongside its very development. Rather than proposing categories or exhaustive classifications (typologies), I suggest working with small interpretative models (for example identity and narcissistic temptation, activism, rituals) which shed a complementary light on artistic activity. The categorization, indexation, typological classification, and the vocabulary present a great challenge. A common reflex in art history is that of typological classification. The short history of web art (1995-2005) hasn’t been spared. In fact, several authors (Bureaud 1998, Bookchnin and Shulgin 1999, Wilson 2002) have proposed a series of general categories that allow for a first grouping of the ever growing material constituting works of art designed to circulate on the web. I work in collaboration with Laboratoire NT2 of UQAM which has a current project consisting in indexing, describing and archiving literary and artistic sites. The elements of classification are the following: nature of the site, types of interactivity, format, content." (From http://www.ceiarteuntref.edu.ar/?q=publi-lalonde02 (2006)){br}{br}http://nt2.uqam.ca/expositions/abecedaire_accueil (online exhibition){br}http://www.puq.ca/catalogue/livres/abecedaire-web-17581.html (pdf e-book, French version){br}{br}---- '''--> [More info\|nocinema]'''{br}----{br}{br}\| {br}{br}{br}{br}{br}{br} ----
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