About Memoduct

The digital utopia of the open World Wide Web was a cohesive element that connected artists in an international network during the 1990s, bringing social progress based on the knowledge capital and emancipatory role of information technology (IT). The performative nature of communication and the freedom of speech in the information space were based on the system of personal freedoms of cyber citizens, faith in direct democracy, self-management and do-it-yourself culture. These are the forgotten pillars of the humanities that today—in the age of digital dystopia induced by extreme IT commercialization—are gaining relevance again. The target groups of Memoduct outputs include: i) researchers in the field of art history and digital humanities; ii) artists working in hybrid disciplines (MA/AST); iii) students of art academies, art theory and humanities; iv) practitioners, researchers and educators in environmental studies; v) women media artists, researchers and educators in gender studies; vi) professionals working in the field of creative industries (experimental group).

SITE-SPECIFIC MEDIA ART HISTORY approach to media art history is based on a systems theory, which analyses the unity of “Artist—Artwork” at a specific socio-historical point, in physical and virtual environments. The task is to reconstruct the conjuncture in which an artwork is created, to establish a connection with the events that influenced it, to reconstruct an artist's decision-making process, and to archive an artwork related specificities and novelty in media. The first pilot project was  → NS digi.povera, a research the digital migration of Generation X and an online repository of the media art scene in Novi Sad which originated on the periphery of New Europe (conjuncture SFR Yugoslavia 1988–Republic of Serbia 2022)