By Domenico Quaranta, Gene McHugh, Joanne McNeil, Josephine Bosma
The decade has noticeable a tremendous progress within the construction and distribution of pictures and different cultural artefacts. the net is where the place these types of cultural items are saved, categorized, voted, gathered and trashed. what's the impression of this technique on paintings making and at the artist? which sort of discussion is happening among beginner practices and codified languages? How does artwork reply to the society of data? this can be a publication approximately unending files, picture collections, bees plundering from flower to flower and hunters crawling in the course of the on-line wasteland. Alterazioni Video, Kari Altmann, Cory Arcangel, Gazira Babeli, Kevin Bewersdorf, Luca Bolognesi, Natalie Bookchin, Petra Cortright, Aleksandra Domanovic, damage van den Dorpel, consistent Dullaart, Hans-Peter Feldmann, Elisa Giardina Papa, Travis Hallenbeck, Jodi, Oliver Laric, Olia Lialina & Dragan Espenshied, Guthrie Lonergan, Eva and Franco Mattes, Seth cost, Jon Rafman, Claudia Rossini, Evan Roth, Travess Smalley, Ryan Trecartin.
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Extra info for Collect the WWWorld: The Artist as Archivist in the Internet Age
25, No. 2, Summer 1995, pp. 9 – 63.  Michel de Montaigne, in Les Essais, published according to the “Exemplaire de Bordeaux” by Fortunat Strowski, Bordeaux 1906 and 1909; Georg Olms, Hildesheim / New York, 1981.  Mark Fisher, “ART STIGMERGY. Interview with Mark Leckey”, in Kaleidoskope, issue 11, Summer 2011.  Roberto Bolano, 2666, 2004. (Eng. ed: 2666. A Novel, Farrar, Straus and Giroux, 2008). __ Nell’era digitale, le immagini si perdono, ma di rado vengono cancellate, e mai ﬁnalizzate.
Nelle improbabili giustapposizioni prodotte dal collage delle ﬁnestre aperte di un browser, diverse emozioni si fondono e si elidono a vicenda. Come possiamo prendere atto della soﬀerenza nel mondo, come possiamo realmente interessarci degli altri? Sentire è concentrarsi, non fare tante cose tutte assieme – concentrarsi ﬁno a che si rivelino i legami naturali delle emozioni. L’appropriazione è intesa come l’arte del rubare – “i grandi artisti rubano” presa alla lettera. Ma questi frammenti dell’archivio inﬁnito, usati come strumenti, operano come un astratto eﬀetto ricorsivo, l’uno nell’altro.