Abstract

This paper examines an analytic perspective on the nature of Art as network. It defines the nature networks as hypertextual information space described as semiotic meshes which consist of the emergence of self-similar alternates;, coded performances of interaction and immediacy. Art as network is defined as that which is the result of hypertextual coherency’s based on the dis-simulation of information.
Somniferous immersive actions of information immediacy and interactivity concede into networked like semantic meshes of infinite and simultaneous regress. Like the properties of hyper-dimensional mathematics matrices, semiotic meshes, associate and enact complex entanglements of information meanings through coded data behaviours. Entanglements, the result of such conditionals, of semantic meshes and mathematical operations are cognate Understood as hypertextuality, entanglements are compelled by dispersed connectivity and rates of accessibility subjugating semantic meshes into information entanglements as modes which shape the dynamic character of the internet and world wide web.
In that, “networked” information, can only be “present” as a dis-simulation of itself, that is, as a pretence to its own functionality, the performance of immediacy and interactivity guide network functionality as self-similar information modes understood as alternates. Self similarity of immediacy and interaction is not an equivalency in the perceived of subject but rather a hypertextual coded derivative embodied by the alternate, a dis-simulation of a networked appearance. The intention of design as purposed difference that make a difference is replaced by the alternates, identity of hypertextual performance. Subject is no longer bounded by its data and can no longer be re=purposed in the sense of appropriation. Re-configuration of networks via permutation, pandemonium, chaos give rise to emergent information behaviours that share tactical self-similar entanglement strategies. It is the alternates that expatiates on network hyper-dimensionality, warping the net’s entanglement meshes and commandeering strategic principals of substitution. Only the alternates is meaningful as search, navigation and speed.

Information entanglements of entertainment, news, business, advertising, porno, academics and personal communications are necessarily simulations of themselves and consequently the net itself. Every instance of hypertextual experience propagates a mimicked substitution of correlative and interactive distortion of network space rippled by mirrors of connectivity of self-similarity. Alternates, the casual catylist for hyper-dimensional expansion, replicate endlessly and unintentionally in an infinite regress of authorless histography of hyper-cues. Strategic and tactically implemented links shape network space as a depthless array of traversing interactions from alternate to alternate.
Modernist notions such as the persistence of meaning, casual relationships of information structures, association and context subsumed into a meaning that is derivative of coded behaviours of the purposed semantic units (what information does not what it means). Art as a self-similar, emergent hypertextual entanglements is Art as network.

• Joel Slayton, US. The Cadre Institute: is located in the School of Art and Design at San Jose State University, the oldest public institution of higher education in California. The city of San Jose is in the heart of Silicon Valley and reflects the entrepreneurial spirit of the region.
  The CADRE Institute is an interdisciplinary research program dedicated to developing experimental applications of digital media. CADRE faculty, Research Fellows and graduate students are engaged in the development and testing of emerging technology applications in art, design, education and communications. The institute pedagogy emphasizes
  theoretical and critical discourse, providing a conceptual context in which experimental activities are defined. CADRE is the publisher of SWITCH, an on-line journal dedicated to critical discourse and presentation of digital media.
  Established in 1984, The Institute has participated in the evolution of media technology and education for over 10 years. Areas of activity include computer graphics, 3D modeling, animation, digital video, interactive multimedia, automated documents, expert systems, artificial agents, human-machine interface design, real time performance control, computer mediated environments, telecommunications, networking, video conferencing, distributed education, telepresence, robotics and virtual reality. Of particular concern is the investigation of issues pertaining to: hypertextuality, interactivity, information mapping, navigation, immersion, agents, virtuality, emergent systems, identity and collaboration.
  The CADRE Institute advocates an agenda which encourages artists to be actively involved in research and exploration. The laboratory and instructional curricula facilitate a wide range of experimentation. Corporate sponsors include: Alias Wavefront, Adobe Systems, Apple Computer, IBM, Intel, Macromedia, NASA Ames Research Center, Pacific Bell, Silicon Graphics, Sun Micro systems and SoftImage.
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