{"version":"1.0","provider_name":"Digicult | Digital Art, Design and Culture","provider_url":"https:\/\/digicult.it\/it","title":"La Sitospecificita' Di Rottura. Nell'arte Digitale Contemporanea &#8226; Digicult | Digital Art, Design and Culture","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"PzinYHx9n4\"><a href=\"https:\/\/digicult.it\/it\/digimag\/issue-059\/interruptive-site-specificity-in-contemporary-digital-art\/\">La Sitospecificita&#8217; Di Rottura. Nell&#8217;arte Digitale Contemporanea<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/digicult.it\/it\/digimag\/issue-059\/interruptive-site-specificity-in-contemporary-digital-art\/embed\/#?secret=PzinYHx9n4\" width=\"600\" height=\"338\" title=\"&#8220;La Sitospecificita&#8217; Di Rottura. Nell&#8217;arte Digitale Contemporanea&#8221; &#8212; Digicult | Digital Art, Design and Culture\" data-secret=\"PzinYHx9n4\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/digicult.it\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/digicult.it\/wp-content\/uploads\/2010\/11\/numero59_Interruptive-Sitespecificity-01.png","thumbnail_width":680,"thumbnail_height":496,"description":"[:en]This article presents an investigation into the ways through which the notion of interruptive site-specificity is manifested and explored in digital art. This investigation is carried out through tracing early influential shifts in how artists have been working with site-specific virtual environments. Myron Krueger's Glowflow (1969) and Jeffrey Shaw's Virtual Museum (1991) are discussed as the relevant representative cases.[:it]Il seguente articolo presenta un'indagine sulle modalit\u0088 di manifestazione e di analisi della nozione di sito-specificit\u0088 nel campo dell'arte digitale. \u00e9 possibile effettuare questa indagine registrando le prime variazioni determinanti nel modo in cui gli artisti lavorano con gli ambienti virtuali sitospecifici. Glowflow (1969), di Myron Krueger, e Virtual Museum (1991), di Jeffrey Shaw, sono oggetto di una discussione in quanto casi rappresentativi rilevanti.[:]"}