It is obvious that the internet, the database and other such technologies have profoundly altered the ways we conceive of, locate, and access knowledge in time and space. The ramifications for artistic practice are, of course, enormous. Artists and theoreticians engaging with this new media have been invited to this discussion to tackle this limitless line of inquiry, of which just a few strands will be delved into here:
Thanks to the internet, Photoshop, and new software and codes, source material is virtually infinite, infinitely reproducible, infinitely transformable, and remembered forever, with the potential to be archived and documented in the virtual realm for eternity. What are the implications of this newly expanded sense of temporality and lack of materiality (in many cases) for art makers who experiment with these mediums, and for their viewers and critics?
How do artists work through, or with, notions of labor and laziness that are part and parcel of the phenomenon of the internet?
How has the internet has affected curatorial practice, as evidenced by instances like the Miranda July project or Pedro Velez’s international curatorial projects?