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“This might once have been collage, the cutting out and juxtaposing of one thing with another. Within Photoshop, however, we can explore images at a forensic level, slicing, masking, and smoothing the joints between things. And that smoothness means the possibilities of remix and mash-up become infinitely more nuanced. Rather than a thing made up of parts, the parts become an indivisible graphic whole.”

“But digital drawings of any real sophistication are generated from multiple sources and combine many different techniques and applications. Modeling, rendering, linework, and fragments of found media are brought together into a single seamless entity. The drawing materializes in the void of the screen: scrolling up and down, zooming in and out, we have to invent both the drawing and the space of the drawing as an alternate universe in that whiteout glow the other side of the glass.”

“The return of the architectural drawing in the digital age is a reinvigoration of the tradition of drawing, but its techniques, tools, and media make it fundamentally new, too. A screen is not only technically different from a page but conceptually different as well. Laying out a piece of tracing paper on a draw- ing board meant setting out something separate from the world—taped at each corner, its scroll stretched flat, its surface ready to be inscribed with ink delivered from the metal barrel of a Rapidograph, scraped with razor blades to correct errors.In contrast, the screen is intimately, vibrantly connected to the world. It’s how the world—or much of it—comes to us.Even as we make digital drawings, we assume the position of the spectator. Even as we draw, we are watching the drawing emerge. We become consumers of the drawing just as we are its creator. The site of drawing is never really empty but connected to network flows, a surface that can leak or erupt, become fugitive and restless, recombinant and promiscuous, where meanings and associations between images are constantly in flux.”

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Politics of Installation by Boris Groys

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“….popular suspicion of the archive of high culture, which relies on cataloging , provenance and authenticity. Insofar as there is a popular archive, it does not share this administrative tendency. Suppose an artist were to release the work directly into a system that depends on reproduction and distribution for its sustenance, a model that encourages contamination, borrowing and stealing and horizontal blur.”

“The genius of bourgeoisie manifests itself in the circuits of power and money that regulate the flow of culture. ….commercial media which together with technology, design, and fashion generate some of the important differences of our day. These are the arenas in which to conceive of a work positioned within the material and discursive technologies of distributed media”

“Instead dispersed and reproduced its value approaching zero as its accessibility rises. We should recognize that collective experience is now based on simultaneous private experiences, distributed across the field of media culture, knit together by ongoing debate, publicity, promotion, and discussion. Publicness today has as much to do with sites of production and reproduction as it does with any supposed physical commons.”

“Distributed media can be seen as a political art and an art of communicative action - not least because it is a reaction to the fact that the merging of art and life has been affected most successfully by the “consciousness industry”

“Privilege the internet as medium, mostly because of its function as a public site for storage and transmission of information. The notion of a mass archive is relatively new, and a notion which is probably philosophically opposed to the traditional understanding of what an archive is and how it functions but it may be that behind the veneer of user interfaces floating on its surface - which generate most of the work grouped under the rubric of web art  - the internet approximates such a structure or can at least be seen as a working model.”

“With more and more media readily available through this unruly archive, the task becomes on of packaging, producing, reframing and distributing, a mode of production analogous not to the creation of material goods, but to the production of social contexts using existing material. Anything on the internet is a fragment, provisional, pointing elsewhere. Nothing is finished.”

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Michael Meredith “Collection” from Under The Influence

Some rough transcriptions in lieu of a real link:

“for joselit, how we choose to format an image is as much a political one as an aesthetic one, because the decision to present data as information presents an ethical dilemma about what data is presented and how it is framed as intelligible, worthwhile, important. the shift in emphasis occurs not on the level of production but on how we frame or format images.”

“through the act of selecting, tagging, and grouping we can project and create cultural and/or personal identities. in this way everyone is a designer. everyone has aesthetic affiliations and affections, architecture is part of this widespread culture of collecting and curation. we are all collectors and curators of our stuff. our stuff defines us.”

“curating however should not be synonymous with collage. (fragments, focus on edges, laments the fragmentation of the world and the impossibility of the whole. contemporary curation, on the other hand, is based on analogy and unifying resonance. it collects wholes and celebrates their coexistence. if you like this you will also like this. images maintain their identity and integrity within a collection, a universe made of tiny aesthetic planets, producing a simultaneity where discrete elements are flattened out.”

“proliferation of images has changed our relationship to architecture and it as a form of cultural practice- a culture that privileges the analogical flatness of a more or less routine model of curation over the antagonistic manifestos of ideological difference, newness, and so forth is dismantling previous value systems - inability to articulate these changes has estranged us from the attributes of this medium - in order to propose meaningful difference we need to reimagine how the apparatus of the internet can function as a platform for a new format of architectural practice that can wholeheartedly reject the earlier polemical model without eschewing all sense of meaning, politics - requires more in depth investigation into this wave of curation - vocab to articulate the micro difference in the way images are generated, talked about, managed and their effects - understand collection and curation as an extension of our toolkit we can reclaim disciplinary specificity”

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“Apart from resolution and exchange value, one might imagine another form of value defined by velocity, intensity, and spread. Poor images are poor because they are heavily compressed and travel quickly. They lose matter and gain speed. But they also express a condition of dematerialization, shared not only with the legacy of conceptual art but above all with contemporary modes of semiotic production.”

“It operates against the fetish value of higher resolution. On the other hand, this is precisely why it also ends up being perfectly integrated into an information capitalism thriving on compressed attention spans, on impression rather than immersion, on intensity rather than contemplation, on previews rather than screenings.”

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http://vk.com/doc19601217_437491733?hash=7be374025101a713fb&dl=470c3dd542ef662968

“After Art will assert that images possess vast power through their capacity for replication, remediation, and dissemination at variable velocities.”

“Documented object whose relationship to its original site or “find spot” (provenience) has been properly studied to produce an informational or documentary value. Even if such objects are removed from their place of origin an and acquired by a distant collection, the knowledge derived from them - and thereafter represented by them - remains part of the cultural commons.”

“Format is a heterogenous and often provisional structure that channels content. Mediums are subsets of formats -- the difference lies solely in scale and flexibility. Mediums are limited and limiting because they call forth singular objects and limited visual practices, such as painting or video. Mediums are analogue in a digital world. Formats regulate image currencies (image power) by modulating their force speed, and clarity.”

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“the exhibition visitor can look at them for a moment  or maybe not at all. The same can be said about the websites of the social networks - one can visit them or not. And if on does visit them then only this visit as such is registered  - and not how much time one has spent looking at them. Contemporary art’s visibility is a weak, virtual visibility, the apocalyptic visibility of contracting time. One is already satisfied that a certain image can be seen or that a certain text can be read - the facticity of seeing and reading becomes irrelevant.”

“The avant-garde tradition operates by reduction - producing in this way atemporal and universalists images and gestures. It is an art that possess and represents the secular messianic knowledge that the world in which we live is a transitory world, subject to permanent change, and that the lifespan of any strong image is necessarily short.  And it is also an art of low visibility that can be compared to the low visibility of everyday life. [...] Today, in fact, everyday life begins to exhibit itself - to communicate itself as such - through design or through contemporary participatory networks of communication, and it becomes impossible to distinguish the presentation of the everyday from everyday itself. The everyday becomes a work of art - there is no more bare life, or, rather, bare life exhibits itself as artifact. Artistic activity is now something that the artist shares with his or her public on the most common level of everyday experience. The artist now shares art with the public just as he or she once shared it with religion or politics. To be an artist has already ceased to be an exclusive fate, becoming instead an everyday practice - a weak practice, a weak gesture.”

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Ellie Abrons, “Author After Author”

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“Crucially, circulationism, if reinvented, could also be about short-circuiting existing networks, circumventing and bypassing corporate friendship and hardware monopolies. It could become the art of recoding or rewiring the system by exposing state scopophilia, capital compliance, and wholesale surveillance.” 

“Circulationism is not about the art of making an image, but of postproducing, launching, and accelerating it. It is about the public relations of images across social networks, about advertisement and alienation, and about being as suavely vacuous as possible.”

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“Specifically within the context of this PDF, Post-Internet is defined as a result of the contemporary moment: inherently informed by ubiquitous authorship, the development of attention as currency, the collapse of physical space in networked culture, and the infinite reproducibility and mutability of digital materials.”