Creation on the internet (Master in Film and Screen Studies)

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Program details
Subject: Creation on the Internet
Course: First
Semester: 2
Modality: Compulsory
Professor: Núria Gómez Gabriel


Over the last thirty years, the Internet has been a place of experimentation, dissemination and creation for artists and creative communities. Web 2.0 radically changed the way we navigate and experience cyberspace and, at the same time, transformed the way we create relationships in contemporary societies. Thanks to its power of outreach and associative connection, the Internet has become not only a place for audiovisual dissemination and distribution, but also a new speculative medium for the production of artistic practices and critical theories ranging from counterculture to academia.


From a broad and expanded approach to the visual cultures that circulate on the net, this subject aims to train critical subjects in the conditions of current cultural production and distribution and to debate the discourses and experiences that make up the field of contemporary trends in creation on the Internet.


Based on the approach to various critical genealogies and the projection of images and online material resources, a space will be created for debate and exchange between students and teachers on the contents of the subject. The methodology will consist, firstly, of creating a conceptual and experiential learning process of a theoretical-practical nature, secondly, of stimulating critical reading and broadening the tools for understanding and synthesising the processes of oral, written and audiovisual communication; and thirdly, of cultivating the skills and resources for research. Directed, supervised and autonomous activities will be combined.


    • 1970: year 0 of the Internet. Jennicam (1996 – 2003) by Jennifer Ringley. Coffe Pot Cam (1993) by Cambridge University y The Fish Cam (1994 – 2020) by Netscape. Anacam (1997 – 2009) de Ana Voog. The Bum (2019) de Ida Jonsson & Simon Saarinen. If You Don’t Pay My Bills (Basic Bitches & It Girls) and The Future Ahead: Improvements for the Further Masculinization of Prepubescent Boys (2014) by Amalia Ulman. VVEBCAM (2007), Vicky Deep In Spring Valley (2011) and Enchanted Foreststrippersnopeleeasy2girls (2012) by Petra Cortright. Dispositivos de saturación sexual (2020) and Lesionada bendición (2020) by Candela Capitán.
    • Texts: Kimberly Henze, Interfacing Femininities: Performance, Critique, and the Events of Photography in Amalia Ulman’s Excellences & Perfections, 2017. [online]. In: Available on the Web: <>
    • (Cyberfeminism 2.0, black cyberfeminism, xenofeminism, postcyberfeminism, glitch feminism, afrofuturism, hackfeminsm, transhackfemisnism): “Manifiesto ciberfeminista para el siglo XXI” (1991), “Manifiesto de la Zorra Mutante” (1996) and “Un hechizo con ternura para el antropoceno” (2016) by VNS Matrix. “Pulse X (Manifiesto Nº 372) (1998, ed.), Ulrike Bergermann. “Manifiesto por algoritmias hackfeministas” (2017), Natasha Felizi and Liliana Zaragoza Cano. “El manifiesto Afrofuturista Mundano” (2013), Martine Syms. “Un Manifiesto contra los Manifiestos” (1999 ed.), Caroline Basset.
    • Text: Donna Haraway, A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980’s, 1991. [en línea]. In: Ciberfeminsm Index. Available on the Web: <>
    • Allucquère Rosanne Stone, Sadie Plant, Verena Kuni, Rosi Briadotti, Old Boys Network, Cornelia Sollfrank, Helene Von Oldenburg, Subrosa, Jodi Wajcman, Laboria Cuboniks, Rachel Baker, Helen Hester, Amy Ireland.
    • Text: Remedios Zafra, “Ciberfeminismos. Tres décadas de alianza entre feminismo, tecnología y futuro”, in Ciberfeminismo. From VNS Martix to Laboria Cuboniks. Barcelona, Ediciones Holobionte, 2019.
    • Introduction to (1994-1999), The intruder (1999) y Metapet (2002) de Natalie Bookchin. de Heath Bunting. Hot Pictures (1994), Moscow World Wilde Web Art Center (1994) y Form Art Competition (1997) de Alexei Shulgin. My Boyfriend came back from the War (1996), Anna Karenin goes to paradise (1994-96), Little Heroes and the Big Dot (2002) y Summer (2013) de Olia Lialina. Net art per se (1996) Documenta X (1997) de Vuk Cosik. Oss, 404, (1995), geo goo (2008), (2008), (2008), sk8monkeys on twitter (2009) y (2018) de Jodi. (1998), No Fun (2010), My Generation (2010) Emily’s Video (2012), What has been seen (2017) y Personal Photographs (2019) de Franco & Eva Mattes.
    • Text-web: Alexander R. Galloway, Jodi’s Infrastructure, 2016. [online]. In: e-flux Joaurnal #74. Available on Web: <>
    • Olia Lialina, Little Heroes and the Big Dot, 2002. [online]. In: Available on Web: <>
    • Olia Lialina, La Web Vernacular (Extended and illustrated version of his lecture at the Decade of Web Design Conference Amsterdam.), 2005. [online]. In: Available on Web: <>
    • (2014), Tha Phantom of the Mirror (2013), Concealment Algorithms (2014), Travel to my website (2016) and Internet Tour (2018) by Mario Santamaría. Networks of New York: An Internet Infrastructure Field Guide (2014-16) by Ingrid Bourringhton. The Dating Brokers (2018) and The Hidden Life of an Amazon User (2019) by Joana Moll. Share Lab. The New Cloud Atlas (2014) by Open Street Map. Submarine Cable Map de TeleGeography and Internet Exchange Map (2017) by TeleGeography. Border Chek (2013) by Roel Rescam Abbing. Data Centers Grand Tour (2013) by Silvio Lorusso. Trail Blazers (2010) by Olia Lialina. The Critical Atlas of the Internet (2015) by Louise Drulhe. The Critical Engineering Working Group. Newstweek (2011), PRISM: The Bacon Frame (2013), Cover Me (2015), Harvest (2017) de Julian Oliver. The End Of The Internet (2009), Web 2.0 Suicide Machine (2009) and Dog (2014) by Denja Vasiliev. Random Darknet Shopper (2014) de Bitnik. Shiv Integer (2016) by M. Plummer-Fernandez. A very long walk (2020) by Eddie Cameron. Mood Disorder (2012) and For $1 USD (2007) by David Horvitz. Sad Topographies. War Zone (2013-14) by Disnovation.
    • Text: Vladan Joler y Kate Crawford, Anatomies of an AI. The amazon echo as an anatomical map of human labor, data and planetary resources, 2018. [online]. In: Available on Web: <>
    • Courts. Spontaneous Soccer Fields (2002) by Bardotti, Leonhard, Matt, Ranki, Silberman, Ouassini, Weiss and Woppmann. Megafone (2004-2014) by Antoni Abad. Ghana Think Tank (2006) by Robbins, Ewing, Odonor and Montoya. Annadamolo (2008) de activistas y estudiantes anónimas. (2008) by studio CAMP, 0x2620 and ALF. Ubiquitous Pompei (2012) by MACME, NeoReality and AOS. Whatch The Med (2012) by Heller, Pezzani. Univ. London y Boats4People. El campo de cebada (2012) by Zuloark, Todo por la praxis, Basurama, FRAVM, AVECLA Y Distrito Centro. Social Street (2013) by Bastiani y Nardacchione. Ellas Tienen Nombre (2013) by I.R. Ramírez. Queering The Map (2017) by Lucas Larochelle. (2018) by Mosireen Collective. Be Water by HongKongers (2019) by Eric Siu y Joel Kwong. Habaq Movement (2019) by Ayyash, Abdoa, Kabbara, Salim y Harfouche. (2020) by A. Schmitt.
    • Text: Geert Lovink, What Is the Social in Social Media?, 2012. [online]. In: e-flux Joaurnal #40. Available on Web: <>
    • Nick Land and the Cybernetic Culture research Unit (CCRU). I Can Has History? by Helene Dams. The Submit Button (2006) by Johannes Posterhoff. Ursula von der Leyen-Fanclub (2009) by Tobias eingruber and Dragan Espenschied. Bootyclipse (2007) by Dennis Knopf. The Wrong. New Digital Art Biannale (2015) by David Quiles. Internet Frame (2017) and #mememanifesto (2020) by Clusterduck. Digital Colonialism (2016-2019) by Moreshin Allahyari & Daniel Rourke. Ways of Something (2014-2015) and Spring Break LA (2020) by Lorna Mills. Hard/Soft (2020) by Faith Holland. Safe Conduct (2016) by Ed. Atkins. Life is a beach… and then you die (2019) by Aram Bartoll. Sanctum (20189 de Zach Blas. Simon Denny. Turbo Sculpture (2010-13) by Alexandra Domanovic. 100.000 Followers for Everyone! (2014) by Constant Dullart. Ontologías Feministas.
    • Texts: «Computer Idioms» by Dragan Espenschied, «Who Else is The Cloud?» by Olia Lialina, «Where Did The Computer Go?» de Dragan Espenschied, «Primitive³» de Jörg Frohnmayer & Dragan Espenschied, «Put yer fonts in a pipe an smoke them» de Dragan Espenschied, «I Think You Got Cats On Your Internet» de Helene Dams, «Defriending the Web» de Dennis Knopf, «Viral Candy» de Isabelle Pettinato, «Comic Resistance» de Leo Merz, «Desktop Island» de johannes Posterhoff. En: Olia Lialina & Dragon Espenschied (eds.), Digital Folklore Reader, 2009. [online]. In: . Available on Web: <>
    • Cory Archangel, Everybody Else, 2009. [online]. In: Available on Web: <>
    • Geert Lovink, Overcomin Internet Disillusionment: On the Principles of Meme Design, 2017. [online]. In: e-flux Joaurnal #83. Available on Web:>
    • Brad Tromel, Athletic Aesthetics, 2017. [online]. In: Ther New Inquiry. Available on Web: <>
    • Film: Christopher Roth, Hyperstition 2016. [online]. In: Museo Tamayo. Available on Web: <>
    • Visual Orgasms (2013-15) by Faith Holland. Karst (20189 de Snow Yunxue Fu. Fardaous Funjab (2015-16) by Miriem Bennani. She Who Sees the Unknown: Huma (2016) by Morehshin Allahyari. Premium Connet (20179 by Tabita Rezaire. ID (2015) by LaTurbo Avedon. Yewwowhirwind (2016) by Lorna Mills. Always a Body, Always a Thing (2016) by Eva Papamargariti. Alice Unchained (2017) by Claudia Hart. Electromagnetic Brainology (20179 by Lu Yang.
    • Hito Steyerl, A sea of data: Apophenia and Pattern (Mis-)Recognition, 2016. [en línea]. En: e-flux Joaurnal #72. Disponible en Web: <>


The final mark for the course will be the result of the average of the following parameters:

50% Visual Research (Individual Practical)
25% Written essay on the Visual Research (Individual)
25% Seminar (Group)

Attendance is compulsory. Students who do not attend at least 80% of the classes (12 sessions) will be evaluated out of 8.5 instead of 10.
The final grade of the course will take into consideration the evolution of the student’s learning. The content of each assignment will be specified in the corresponding statement.

The methodology followed in the teaching of the subject will be lectures always supported by video clips, web materials and texts. The course follows the indications contained in the ESCAC regulations in relation to issues such as continuous assessment or fraud in exams or assignments.

Online archives and materials

Cyberfeminsim Index (USA)

Artport Idea Line (USA)

Fin del mundo (Argentina)

¿netart or notart? (Argentina, Brasil, Chile, Colombia, Cuba, Ecuador, El Salvador, México, Paraguay, Perú, Puerto Rico, Uruguay, Venezuela)

Aleph (España)

Zingmagazine (USA)

Rhizome (USA)

Mediamatic (Holanda)

V2, Institute for the Unstable Media (Holanda)

The Critical Engineering Working Group (Alemania)

ZKM Center for Art and Media (Alemania)

Ljubljana Digital Media Lab (Eslovenia)

Hamaca (España)

Neural (Italia)

Whitney Artport (USA)

Dia: (USA)

Art & Science Collaborations, Inc. (ASCI)

Tate Online (Reino Unido)

AVCO (Reino Unido)

CRAC: Creative Room for Art and Computing (Suecia)

IMAL (Bélgica)

Salonkritik (España)

W3art (España)


The web bibliography is complementary, as a guide that could be expanded extensively.

ASCOTT, R. y otros. Ars Telematica. Telecomunicación, Internet y Ciberespacio. Traducciones: R. Sala y C. Giannetti (del alemán), M. Dávila (del inglés). Barcelona: ACC L ́Angelot, 1998

BERRY, J. Código al descubierto: el net art y el movimiento de software libre, 2002. [en línea]. En: ARTNODES. Disponible en Web:

BIAGORRI, L. Recapitulando: modelos de artivismo (1994-2003) [en línea]. En: «No más arte, sólo vida». Disponible en Web:

BLANK, J. «What is ;-)?» [en línea], 1996. Disponible en Web:

BOSMA, J. Vuk Cosic interview: per se, 1997. [en línea]. Disponible en Web:

BOOKCHIN, N., SHULGIN, A. Introducción al (1994-1999) [en línea]. En: Aleph. Disponible en Web:

BREA, J. L. (no)arte, en una zona temporalmente autónoma [en línea]. En: Aleph. Disponible en Web:

BREA, J. L. El arte del futuro y su urgente enseñanza [en línea]. Red digital: Revista de Tecnologías de la Información y Comunicación Educativas, No. 3, 2002 Disponible en Web:

CARRILLO, J. La red: un sitio inespecífico. En: Artecontexto: arte, cultura, nuevos medios No. 6, 2005, pags. 16-25

DO PICO, D. Arte y nuevas tecnologías. Un posible marco de inscripción crítico para el En: Renovar la tradición, Vol. 2, 2006, págs. 565-588

FLUSSER, V. El universo de las imágenes técnicas. Elogio de la superficialidad. Argentina: Caja Negra, 2015.

GARCÍA ANDÚJAR, D. Actualidad en la red. Artecontexto: arte, cultura, nuevos medios, No. 1, 2004, págs. 86-93

LLEÓ, J. A. El arte en las redes, Libres para Siempre. Madrid: Sociedad General de Autores de España: Anaya Multimedia, 1997.

MARTÍN PRADA, J. El, o la definición social de los nuevos medios [en línea]. En: Aleph. Disponible en Web:

OLIVERAS, E. Arte desde la pantalla: la imagen de síntesis del net art. En: Real- virtual en la estética y la teoría de las artes / coord. por Simón Marchán Fiz, 2006, págs. 195-21

ROSS, D. 21 Distinctive Qualities of Net.Art [en línea]. Conferencia en la San Jose State University, Marzo, 1999. Disponible en Web:

RUSH, M. New media in late 20th-century art. Londres: Thames and Hudson, 1999 ZAFRA, R, El instante invisible del [en línea]. En: Aleph. Disponible en Web:

SRNICEK, N. Capitalismo de Plataformas. Argentina: Caja Negra, 2018.

STEYERL, H. Los condenados de la pantalla. Argentina: Caja Negra, 2014.

TEJERIZO, F. El la estética de la red [en línea]. Disponible en Web:

ZAFRA, R. NET.ART: Internet me piensa [en línea]. Red digital, 2002. Disponible en Web:

ZAFRA, R. Y LÓPEZ-PELLISA (eds.). Ciberfeminismo. De VNS Matrix a laboria Cuboniks. Barcelona: Ediciones Holobionte, 2019.