In 2000, Manetas arranged a commission for the California based branding company Lexicon to invent a name appropriate to this new movement. He chose two of the hundred names they provided - Telic and Neen.
Telic, which means literally 'goal oriented' or 'purposeful', was chosen to apply to the normal or accepted use of tools and technology. Telic processes are constructive. Building a technology to fill an existing need is a Telic process. The creation of art for paying clients is Telic. Telic is serious: it makes sense. People recognize it and trust it. Neen by contrast is the creative and opportunistic reuse of technologies for purposes other than those for which they were designed. Neen is Telic that went nuts: you wouldn't believe that it's possible. It opens new doors. It reuses cheap and available technologies. Neen work is slick, new, cool, personal and temporary.
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Shortly after the unveiling of the name 'Neen' at the Gagosian gallery in New York in June 2000, Manetas moved to Los Angeles and founded the Electronic Orphanage organization and gallery.
Artists listed as participating in the Neen movement include Andreas Angelidakis, Mai Ueda, Mike Calvert, Rafael Rozendaal, Steven Schkolne, John White C, Nikola Tosic, Amy Franceschini from Future Farmers, Joel Fox, Yi Zhou and Angelo Plessas.
Some artists (Erik Loyer, Jon Winet) expressed skepticism at the time as to whether the corporate created 'Neen' name was appropriate or would catch on (Olsen 2000). Manetas himself admits that one role for an artist is to draw attention to his own work (Glassie, 2002). In Jan. 2004 it is unclear whether his efforts with Neen and Telic will bear fruit and extend the use of these terms beyond his immediate colleagues.
Background
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References