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"The internet does not exist. Maybe it did exist only a short time ago, but now it only remains as a blur, a cloud, a friend, a deadline, a redirect, or a 404. If it ever existed, we couldn't see it. Because it has no shape. It has no face, just this name that describes everything and nothing at the same time. Yet we are still trying to climb onboard, to get inside, to be part of the network, to get in on the language game, to show up on searches, to appear to exist. But we will never get inside of something that isn't there. All this time we've been bemoaning the death of any critical outside position, we should have taken a good look at information networks. Just try to get in. You can't. Networks are all edges, as Bruno Latour points out. We thought there were windows but actually it's made of mirrors. And in the meantime we are being faced with more and more--not just information, but the world itself. And a very particular world that has already become part of our consciousness. And it wants something. It doesn't only want to harvest our eyeballs, our attention, our responses, and our feelings. It also wants to condition our minds and bodies to absorb all the richness of the planet's knowledge."--Back cover.

Internet --- Internet --- Internet --- Music and the Internet --- Mass media and culture --- Social media --- Social aspects --- Political aspects --- Moral and ethical aspects

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Leading artists, theorists, and writers exhume the dystopian and utopian futures contained within the present. Invited to exhibit at the 56th Venice Biennale, e-flux journal produced a single issue over a four-month span, publishing an article a day both online and on site from Venice. In essays, poems, short stories, and plays, artists and theorists trace the negative collective that is the subject of contemporary life, in which art, the internet, and globalization have shed their utopian guises but persist as naked power, in the face of apocalyptic ecological disaster and against the claims of the social commons. --From publisher description.

Art and society --- Globalization --- Social ecology --- Ecology

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A massive, long-overdue retrospective on the multimedia image critique of Hito Steyerl, influential artist and author of Duty-Free Art and The Wretched of the ScreenOver the past 30 years, through video and installation, the immensely influential German artist and writer Hito Steyerl (born 1966) has been tracking the ways that images have mutated—from the analogue image and its manifold possibilities for montage to the fluidity of the split digital image—and the implications these mutations have had for the representation of wars, genocides and the flow of capital. “We are no longer dealing with the virtual but with a confusing and possibly alien concreteness that we are only beginning to understand,” writes Brian Kuan Wood of the digital visual worlds that the artist presents.At nearly 500 pages, this book—the first substantial overview on Steyerl—looks at multimedia installations and film projects of the past ten years, as well as earlier works, all of which are united by the artist’s unflagging interrogation of the politics of the image.

kunst --- video-installaties --- video --- kunst en politiek --- film --- eenentwintigste eeuw --- Steyerl Hito --- Duitsland --- 7.071 STEYERL --- Exhibitions --- Art --- video [art discipline] --- video art --- video artists --- multimediakunst --- Steyerl, Hito --- Installations (art) --- Installations vidéo (art) --- Art vidéo --- Art numérique --- Kunst en cultuur ; globalisering --- Kunst en activisme --- Kunst en politiek ; 21ste eeuw --- Beeldende kunst ; Duitsland ; 21ste eeuw --- Videokunst ; 21ste eeuw --- Steyerl, Hito °1966 (°München, Duitsland) --- 778.5.07 --- Videokunstenaars, laserkunstenaars, computerkunstenaars, klank en beeld kunstenaars --- video [discipline]