網(wǎng)絡(luò)藝術(shù)家可能會(huì)使用特定的社會(huì)或文化互聯(lián)網(wǎng)傳統(tǒng)，在互聯(lián)網(wǎng)的技術(shù)結(jié)構(gòu)之外創(chuàng)作他們的藝術(shù)作品?；ヂ?lián)網(wǎng)藝術(shù)通常（但并非總是）是互動(dòng)的、參與性的和基于多媒體的。互聯(lián)網(wǎng)藝術(shù)可用于通過(guò)人類互動(dòng)傳播政治或社會(huì)信息。通常，藝術(shù)家通過(guò)使用互聯(lián)網(wǎng)及其提供給我們的工具找到創(chuàng)作藝術(shù)的方法。

互聯(lián)網(wǎng)藝術(shù)一詞通常不是指簡(jiǎn)單地?cái)?shù)字化并上傳以供通過(guò) Internet 查看的藝術(shù)，例如在在線畫廊中。^[1]相反，這種類型本質(zhì)上依賴于互聯(lián)網(wǎng)作為一個(gè)整體存在，利用了互動(dòng)界面和與多種社會(huì)和經(jīng)濟(jì)文化以及微觀文化的聯(lián)系等方面，而不僅僅是基于網(wǎng)絡(luò)的作品。

新媒體理論家和策展人喬恩·伊波利托 （Jon Ippolito） 在 2002 年定義了“互聯(lián)網(wǎng)藝術(shù)的十個(gè)神話”。^[1]他引用了上述規(guī)定，并將其定義為不同于商業(yè)網(wǎng)頁(yè)設(shè)計(jì)，并談到了持久性、可存檔性和在流體介質(zhì)中收集的問(wèn)題。

互聯(lián)網(wǎng)藝術(shù)植根于不同的藝術(shù)傳統(tǒng)和運(yùn)動(dòng)，從達(dá)達(dá)主義到情境主義、概念藝術(shù)、激浪派、視頻藝術(shù)、動(dòng)態(tài)藝術(shù)、行為藝術(shù)、遠(yuǎn)程信息處理藝術(shù)和偶發(fā)事件。^[2]這些運(yùn)動(dòng)的共同主題是關(guān)注藝術(shù)的實(shí)驗(yàn)主義、表演和互動(dòng)性。

1974 年，加拿大藝術(shù)家 Vera Frenkel 與 Bell Canada Teleconferencing Studios 合作，制作了作品 String Games： Improvisations for Inter-City Video，這是加拿大第一件使用電信技術(shù)的藝術(shù)作品。^[3]

早期的遠(yuǎn)程信息處理藝術(shù)作品是羅伊·阿斯科特 （Roy Ascott） 的作品《文本的幸?！罚↙a Plissure du Texte），^[4] 于 1983 年為巴黎市立現(xiàn)代藝術(shù)博物館的展覽合作創(chuàng)作。

1985 年，Eduardo Kac 為 Minitel 系統(tǒng)創(chuàng)作了動(dòng)畫 videotex 詩(shī)歌 Reabracadabra。^[5]

媒體藝術(shù)機(jī)構(gòu)，如林茨的 Ars Electronica 音樂(lè)節(jié)或位于巴黎的 IRCAM（電子音樂(lè)研究中心），也將支持或展示早期的網(wǎng)絡(luò)藝術(shù)。1996 年，Helen Thorington 創(chuàng)立了 Turbulence.org，這是一個(gè)在線平臺(tái)，用于委托和展示網(wǎng)絡(luò)藝術(shù)，并舉辦多地點(diǎn)網(wǎng)絡(luò)表演。1991 年，Wolfgang Staehle 創(chuàng)立了重要的實(shí)驗(yàn)平臺(tái)，例如 The Thing。^[6]1994 年，企業(yè)家 John Borthwick 和策展人 Benjamin Weil 在 Adaweb 上在線制作了 Doug Aitken、Jenny Holzer 等人的作品，1997 年，MIT 的 List 視覺藝術(shù)中心舉辦了“PORT：導(dǎo)航數(shù)字文化”，其中包括畫廊空間中的互聯(lián)網(wǎng)藝術(shù)和“基于時(shí)間的互聯(lián)網(wǎng)項(xiàng)目”。^[7]參加展覽的藝術(shù)家包括 Cary Peppermint、Prema Murthy、Ricardo Dominguez、Helen Thington 和 Adrianne Wortzel。

同樣在 1997 年，互聯(lián)網(wǎng)藝術(shù)在第十屆卡塞爾文獻(xiàn)展（由 Catherine David 指導(dǎo)）上展出，策展人 Simon Lamunière 主持。在卡塞爾和在線同時(shí)展示的10個(gè)項(xiàng)目是Matt Mullican， Antoni Muntadas， Holger Friese， Heath Bunting， Felix Stefan Huber & Philip Pocock， Herve Graumann， Jodi， Martin Kippenberger和Carsten H?ller等人的項(xiàng)目。

2000 年，惠特尼美國(guó)藝術(shù)博物館 （Whitney Museum of American Art） 在其雙年展中展出了網(wǎng)絡(luò)藝術(shù)。^[8]這是網(wǎng)絡(luò)藝術(shù)首次被納入雙年展的特殊類別，也是最早將網(wǎng)絡(luò)藝術(shù)納入美術(shù)館的例子之一。互聯(lián)網(wǎng)藝術(shù)家包括 Mark Amerika、Fakeshop、Ken Goldberg、etoy 和 ??ark。

隨著搜索引擎在 1990 年代后期作為訪問(wèn)網(wǎng)絡(luò)的門戶的興起，許多網(wǎng)絡(luò)藝術(shù)家將注意力轉(zhuǎn)向了相關(guān)主題。2001 年在惠特尼博物館舉辦的“數(shù)據(jù)動(dòng)力學(xué)”展覽以“Netomat”（Maciej Wisniewski）和“Apartment”（Turbulence.org 委托項(xiàng)目）（Marek Walczak 和 Martin Wattenberg）為特色，它們使用搜索查詢作為原材料。瑪麗·弗拉納根 （Mary Flanagan） 的《永恒之床》因其對(duì) 3D 非線性敘事空間的使用而受到關(guān)注，或者她稱之為“可導(dǎo)航的敘事”。^{[9] [10]} 她 2001 年在惠特尼雙年展上展出的題為“收藏”的作品，展示了在計(jì)算集體無(wú)意識(shí)中從世界各地的硬盤中積累的物品。^[11] 戈蘭·萊文 （Golan Levin） 的《數(shù)字的秘密生活》（2000 年）——也是 Turbulence.org 委托作品——將 Alta Vista 搜索結(jié)果衡量的數(shù)字 1 到 1,000,000 的“受歡迎程度”可視化。這些工作指出了替代接口，并質(zhì)疑搜索引擎在控制對(duì)網(wǎng)絡(luò)的訪問(wèn)中的主導(dǎo)作用。

然而，互聯(lián)網(wǎng)不能簡(jiǎn)化為 Web，也不能簡(jiǎn)化為搜索引擎。 除了這些單播（點(diǎn)對(duì)點(diǎn)）應(yīng)用程序之外，還存在一個(gè)多播（多點(diǎn)和無(wú)中心）互聯(lián)網(wǎng)，很少有藝術(shù)經(jīng)驗(yàn)（如 Poietic Generator）探索過(guò)它。根據(jù) Juliff 和 Cox 的說(shuō)法，互聯(lián)網(wǎng)藝術(shù)在計(jì)算機(jī)藝術(shù)中固有的用戶界面特權(quán)下受到了損害。他們認(rèn)為，互聯(lián)網(wǎng)并不等同于特定的用戶和特定的界面，而是一個(gè)包含編碼和藝術(shù)家意圖的動(dòng)態(tài)結(jié)構(gòu)。^[12]

與此同時(shí)，盧森堡當(dāng)代藝術(shù)博物館 （MUDAM Musée d'Art Contemporain du Luxembourg） 和最大的 MIXM 開發(fā)了在網(wǎng)絡(luò)上發(fā)生的事情和博物館中展出的內(nèi)容之間建立物理關(guān)系的最初嘗試。當(dāng)時(shí)，在曹斐開發(fā)《人民城鷲》等平臺(tái)之前的《第二人生》之前，彼得·科格勒、海莫·佐伯尼格、內(nèi)德科·索拉科夫或羅賓·蘭波（又名掃描儀）等當(dāng)代藝術(shù)家實(shí)現(xiàn)了可以在藝術(shù)博物館中看到的在線作品，特別是作為裝置，而不僅僅是在展示互聯(lián)網(wǎng)藝術(shù)的電腦屏幕上。例如，在索拉科夫的作品中，人們可以與日內(nèi)瓦當(dāng)代藝術(shù)中心展覽空間中的物品進(jìn)行在線互動(dòng)。在 Heimo Zobernig 的作品中，人們可以物理移動(dòng)一面墻，以露出 MAMCO 中的一個(gè)空間，其中包含同一空間的 3D 在線渲染。

The emergence of social networking platforms in the mid-2000s facilitated a transformative shift in the distribution of internet art. Early online communities were organized around specific "topical hierarchies",^[13] whereas social networking platforms consist of egocentric networks, with the "individual at the center of their own community".^[13] Artistic communities on the Internet underwent a similar transition in the mid-2000s, shifting from Surf Clubs, "15 to 30 person groups whose members contributed to an ongoing visual-conceptual conversation through the use of digital media"^[14] and whose membership was restricted to a select group of individuals, to image-based social networking platforms, like Flickr, which permit access to any individual with an e-mail address. Internet artists make extensive use of the networked capabilities of social networking platforms, and are rhizomatic in their organization, in that "production of meaning is externally contingent on a network of other artists' content".^[14]

Post-Internet is a loose descriptor^[15] for works of art that are derived from the Internet as well as the internet's effects on aesthetics, culture and society.^[16] It is a broad term with many associations and has been heavily criticized.^[15]

The term emerged during the mid-2000s and was coined by Internet artist Marisa Olson in 2008.^[17] Discussions about Internet art by Marisa Olson, Gene McHugh, and Artie Vierkant (the latter notable for his Image Objects, a series of deep blue monochrome prints) brought the term to a mainstream consciousness.^[18] Between the 2000s and 2010s, post-Internet artists were largely the domain of millennials operating on web platforms such as Tumblr and MySpace or working in social media video and post-narrative formats such as YouTube, Vevo, or memes.

According to a 2015 article in The New Yorker, the term describes "the practices of artists who ... unlike those of previous generations, [employ] the Web [as] just another medium, like painting or sculpture. Their artworks move fluidly between spaces, appearing sometimes on a screen, other times in a gallery."^[19] In the early 2010s, post-Internet was popularly associated with the musician Grimes, visual artists like Cory Arcangel, Artie Vierkant, Petra Cortrght, Ryan Trecartin and Lizzie Fitch, and Kalup Linzy, and social practice dissensus collectives like DIS and K-HOLE.^[20] The movement catapulted a number of hybrid microgenres and subcultures such as bloghouse, bro dubstep, seapunk, electroclash, and vaporwave.^[15]

Art historian Rachel Greene identified six forms of internet art that existed from 1993 to 1996: email, audio, video, graphics, animation and websites.^[21] These mailing lists allowed for organization which was carried over to face-to-face meetings that facilitated more nuanced conversations, less burdened from miscommunication.

Since the mid-2000s, many artists have used Google's search engine and other services for inspiration and materials. New Google services breed new artistic possibilities.^[22] Beginning in 2008, Jon Rafman collected images from Google Street View for his project called The Nine Eyes of Google Street View.^[23][22] Another ongoing net art project is I'm Google by Dina Kelberman which organizes pictures and videos from Google and YouTube around a theme in a grid form that expands as you scroll.^[22]

Another method of creating web art that has been employed commonly is altering the internal code of files. Through this method, web artists destroy a section or sections of code within the metadata of files, creating a version of the file that fails to be displayed correctly.

• Kate Armstrong, Jeremy Bailey & Faisal Anwar on Net Art in Canadian Art Magazine [2]^{[permanent dead link]}
• Weibel, Peter and Gerbel, Karl (1995). Welcome in the Net World Archived 2012-06-05 at the Wayback Machine, @rs electronica 95 Linz. Wien New York: Springer Verlag. ISBN 3-211-82709-9
• Fred Forest 1998,¨Pour un art actuel, l'art à l'heure d'Internet" l'Harmattan, Paris
• Baranski Sandrine, La musique en réseau, une musique de la complexité ? éditions universitaires européennes, mai 2010
• Barreto, Ricardo; Perissinotto, Paula. "the_culture_of_immanence". Archived from the original on 29 September 2011.
• Baumg?rtel, Tilman (2001). net.art 2.0 – Neue Materialien zur Netzkunst / New Materials towards Net art. Nürnberg: Verlag für moderne Kunst. ISBN 3-933096-66-9.
• Wilson, Stephen (2001). Information Arts: Intersections of Art, Science and Technology. Cambridge, Massachusetts : MIT Press. ISBN 0-262-23209-X.
• Caterina Davinio 2002. Tecno-Poesia e realtà virtuali / Techno-Poetry and Virtual Realities, Sometti, Mantua (IT) Collection: Archivio della poesia del 900. Mantua Municipality. With English translation. ISBN 88-88091-85-8
• Stallabrass, Julian (2003). "Internet Art: the online clash of culture and commerce". Tate Publishing. ISBN 1-85437-345-5, ISBN 978-1-85437-345-8.
• Christine Buci-Glucksmann, "L’art à l’époque virtuel", in Frontières esthétiques de l’art, Arts 8, Paris: L’Harmattan, 2004
• Greene, Rachel (2004). "Internet Art". Thames and Hudson. ISBN 0-500-20376-8, ISBN 978-0-500-20376-7.
• Corby, Tom (2006). "Network Art: Practices and Positions". Routledge, ISBN 0-415-36479-5.
• WB05 e-symposium published as ISEA Newsletter #102 – ISSN 1488-3635 #102 [3]
• Juliff, Toby & Cox, Travis. 'The Post-display condition of contemporary computer art.' eMaj #8 (April 2015) https://emajartjournal.files./2012/11/cox-and-juliff_the-post-display-condition-of-contemporary-computer-art.pdf
• Ascott, R.2003. Telematic Embrace: visionary theories of art, technology and consciousness. (Edward A. Shanken, ed.) Berkeley: University of California Press.
• Roy Ascott 2002. Technoetic Arts (Editor and Korean translation: YI, Won-Kon), (Media & Art Series no. 6, Institute of Media Art, Yonsei University). Yonsei: Yonsei University Press
• Ascott, R. 1998. Art & Telematics: toward the Construction of New Aesthetics. (Japanese trans. E. Fujihara). A. Takada & Y. Yamashita eds. Tokyo: NTT Publishing Co., Ltd.
• Fred Forest 2008. Art et Internet, Paris Editions Cercle D'Art / Imaginaire Mode d'Emploi
• Thomas Dreher: IASLonline Lessons/Lektionen in NetArt.
• Thomas Dreher: History of Computer Art, chap.VI: Net Art: Networks, Participation, Hypertext
• Monoskop (2010). Overview of 'surf clubs' phenomenon. [4]
• Art in the Era of the Internet, PBS Report
• (in Spanish) Martín Prada, Juan, Prácticas artísticas e Internet en la época de las redes sociales, Editorial AKAL, Madrid, 2012, ISBN 978-84-460-3517-6
• Bosma, Josephine (2011) "Nettitudes – Let's Talk Net Art" [5] Archived 2014-07-26 at the Wayback Machine NAI Publishers, ISBN 978-90-5662-800-0
• Schneider, B. (2011, January 6). From Clubs to Affinity: The Decentralization of Art on the Internet ? 491. 491. Retrieved March 3, 2011, from https://web./web/20120707101824/http:///2011/01/06/fromclubstoaffinity/
• Boyd, D. M.; Ellison, N. B. (2007). "Social Network Sites: Definition, History, and Scholarship". Journal of Computer-Mediated Communication. 13 (1): 210–230. doi:10.1111/j.1083-6101.2007.00393.x. S2CID 52810295.
• Moss, Ceci. (2008). Thoughts on “New Media Artists v. Artists with Computers". Rhizome Journal. http:///editorial/2008/dec/3/thoughts-on-quotnew-media-artists-vs-artists-with-/
• Greene, Rachel. (2000) A History of Internet Art. Artforum, vol. 38.
• Bookchin, Natalie & Alexei Shulgin (1994–5). Introduction to net.art. Rhizome. http:///artbase/artwork/48530/.
• Atkins, Robert. (1995). The Art World (and I) Go Online. Art in America 83/2.
• Houghton, B. (2002). The Internet & art: A guidebook for artists. Upper Saddle River, NJ: Prentice Hall. ISBN 0-13-089374-9.
• Bosma, J. (2011). Nettitudes: Let's talk net art. Rotterdam: Nai Publishers. ISBN 978-90-5662-800-0.
• Daniels, D., & Reisinger, G. (2009). Net pioneers 1.0: Contextualizing early net-based art. Berlin: Sternberg Press. ISBN 978-1-933128-71-9.

• Archived 2013-12-19 at the Wayback Machine an online-gallery listing and directory of internet art
• > ?netart or notart? < netart latino database
• "Post-Internet Materialism". . Archived from the original on 2016-03-16. Retrieved 2015-03-15. An interview with Martijn Hendriks & Katja Novitskova
• "The New Aesthetic and its Politics"
• "Finally, a Semi-Definitive Definition of Post-Internet Art". Art F City. 14 October 2014.