In her recent show, Kate Rich harnesses the spare baggage capacity of the globe-trotting art world to create a ‘feral trade' network of human scale exchange. John Millar has trouble suspending his disbelief

Finally, the pundits of Creative Economies and all that malarkey will be forced to confront their own bastard child: SportArt. Despite the eagerness to strip mine 'creativity' and 'leisure' in an effort to stave off economic doom, the consensual hallucination of a Creative Economy on which it rests is turning more psychedelic than value-producing. While erstwhile 'industry leaders' like super-curator Hans Ulrich Obrist subject themselves to marathon public mea culpas (cf.

This thesis examines site-specific art on the Internet from the popularisation of the World Wide Web in 1994 until 2001. The artists studied here are those primarily associated with the term 'net.art', although other artists not associated with this term have also been considered wherever relevant. The generic term I use to designate all these artists is thus 'net art'. The central aim of this thesis is to understand how Internet technology has been used by artists to extend certain avant-garde tendencies in the context of a globalised and networked society.

Whatever happened to tactical media? David Garcia, one of the genre’s early formulators, takes C6’s recent publication DIY Survival as an opportunity to reflect on the general state of cultural politics after its net propelled reinvention in the `90s. Concerned with the commercial cannibalisation of tactical media, he identifies a need to connect its ‘hit and run’ ephemerality with more permanent structures of resistance

WSFII LIMEHOUSE TOWNHALL 2005

The most recent of a series of World Summits on Free Information Infrastructures, took place between the 1st and 3rd October 2005 at Limehouse Town hall in London. This gathering of free infrastructure developers of all kinds sought to create not only a convivial and 'open' space to represent practices and validate knowledge, but also effect its locality with some of the possibilities of free infrastructure practice.

Makrolab is one of the more seminal and enduring projects to have developed out of the tactical media canon. Brian Holmes sets the project in the context of epochal shifts underway in the former Yugoslavia during its inception and fixes our vision firmly on the utopian horizon that this living laboratory probes