“artists are embracing the meme’s infinitesimal life span as a new metric (think: short attention span as a new avant-garde), constructing works not for eternity but only for long enough to ripple across networks, vanishing as quickly as they appear, replaced by new ones tomorrow.” When I make visual work for my instagram account and zine submissions I take this into account. I try to remember the short term life span of anything on the internet and keep my work consise, short and aesthetically trendy.

“I think its time to drop the simplistic guilt about wasting time on the internet and instead begin to explore- and perhaps even celebrate- the complex posibilities that lay before us.”

“In a room full of machines and gadgets it was, ironically, the body and its small human gestures- that drove the class. People say that technology creates distance between people, but we found it to be just the opposite: our physical and emotive experiences were intensified through our devices.”

” the sense of being inbetween- being at once digital and physical- has spawned a reassesment of the relationship of our bodies to meatspace, the earthbound equivilant of cyberspace.” Before smart phones our time online and offline was clearly distinguished but now we are forever online.

“this intersection of the digital world and the physical has been driving the new aesthetic, a catchphrase cum art movement that was coined by the british designer James Bridle in 2011. No longer content to live exclusivly on the screen, memes, images, and ideas born of digital culture are infiltrating and expressing themselves in meatspace.”

“I excitedly think of the potential of a modern day Boswell or Pepys scraping browser histories into a literary biography or memoir.” A possible zine idea? I often overshare myself online and sharing my browser history for the world to see seems like an ideal way to show the human condition and their online habits which is completely honest. Memoirs are often recalled by memory which leaves room for people to edit their lives and thoughts however the internet has the ability to remember things as they actually happened.

“how is using a piece of technology to have a deep conversation with someone you love not insightful to the human condition?”

“Commonplace books and scrapbooks combined democratic-based practices such as crafts, folk arts, and hobbies with the avant-garde tradition of the object trouve- found objects admired for their aesthetic qualities- which resonates with our current obsessions of archiving, arranging, hoarding, and sorting of digital readymades.”

“seeing ourselves and our lives reflected in our interfaces is a key part of the reason we stay attached to them. Cornell though it was important to include his viewers in his boxes, which is why they often contain mirrors.” Joseph Cornell’s boxes. Similar to how we have profile pictures on all our internet profiles that sit next to whatever we post. Narcissus. “(McLuhan) Now the point of this myth is the fact that men at once become fascinated by any extension of themselves in any material other than themselves.” If there’s a better description of the mechanics of social media, I don’t know it.”

“A number of human beings are struggling against this automatic programming … attempting to create a space for human intention in a world dominated by apparatuses”

The following extracts from the book are things I found extremely relatable to my own art practice of collecting images from the internet and using them in collages and GIFs in a low resolution way.

“The binary of true/false art/reality bespeaks a less complicated time, before appropriation in the visual arts, digital sampling in music, Internet avatars, and reality TV was the norm.”

“The beauty of the internet is that people can take things, and do what they want with them, to project what the want or feel.”

Andrea Fraser “In 2003, Fraser performed what was perhaps the ultimate work of institutional critique in which a collector paid twenty thousand dollars to sleep with her, “not for sex,” according to fraser, but “to make an artwork.””

“the GIF, like the lossy MP3, is a low resolution format, known in computing terms as jaggy, named for the jagged-edged pixels you see when you zoom in on a lo-res image. Like flipbooks, animated GIFs are made by sequencing a series of still images”

“Low-resolution, or cool media, has a web based DIY ethos, one that invites you to customize, tinker with, and remix its artifacts.”

“Politically, she says, the strong image is on the side of “official” culture: capital and corporations. The “poor” image is on the side of “unofficial” culture: file sharing and individuals.”

“Weak images, then, are popular images in that they can be made and viewed by the many. Because compression makes it possible for weak images to travel long distances efficiantly, they lose information and gain speed. Steyerl claims that “this is precisely why they end up being perfectly intergrated into an information capitalism thriving on compressed attention spans, on impression rather than immersion, on intensity rather than contemplation, on previews rather than screenings.”

Georgina Tyson