REFLECTIONS AND NOTES OVER MICHAEL CONNORS POSTINTERNET: WHAT IT IS AND WHAT IT WAS

CONNOR FREW
2015

translated from online origins to a more stable presentation format suited

translated from online origins to a more stable presentation format suited

to a gallery context

-translation of the work to a more stable material format

Artists after the internet thus take on a role more closely aligned to that
of the interpreter, transcriber, narrator, curator, architect.7

These days its not popular to ascribe shifts to the mere appearance of a
new technology rather than to shifts in perceptual regimes or economic
models, but lets just say it: the iPhone was released in 2007.

proliferation of smartphones and the growing pressures of an attentionbased economy.

knowing participants in a system of circulating data in which the line

between artist-made, user-generated, and commercial content is
decidedly blurred.

Brand Innovations for Ubiquitous Authorship

-the artist as user

works reliance on a network of friends, a kind of autonomous zone in

which her image circulates,

in contrast

reliance on a network of logistics and manufacturing, on a network that

transmits digital files to on-demand manufacturers and documentation to
YouTube, and the less tangible networks that assign value to an art
work.
originally articulated by Olson, positioned the artistic creation after or
structurally outside of the internet, while acknowledging that the digital
artist was a fully vested participant in internet culture.
internet-enabled neoliberal ether. Outside the internet is not presumed
to exist.

Not an airy declaration of independence, but a reckoning of ones

immersionto address a fluid object, we need a new social politics of
collective inter-reliance.
-post-internet as contemporarily defined most effectively refers to the artists
recognizance of their simultaneous status as user.
| fluid object
the artist is v slippery, situated firmly w/in the expansive, flowing neolib
network of neoliberalism & corporate mediation of cultural production