Current Ideas
Right now, your two primary interests in your practice are the Net as a virtual network which connects points in the physical world, and the status of the virtual/physical object in the art economy.

Right now you've been thinking a lot about the role of data visualization in current Net.Art practice, and it's conservative relation to painting, and to the tools of corporate finance and engineering. You think the role of the database in this practice is crucial, but you can't help see the conservatism and aestheticization in some of these projects. In addition, these are some of the first computer pieces to be successfully marketed and sold in the art gallery system. You are thinking about writing a paper on the topic. Almost all of the Net projects in this year's Whitney Biennial privilege this category, and many of those are listed below. Here are some of the projects which use databases, data visualization, and mapping.

Alex Galloway, Carnivore, StarryNight

Lisa Jevbratt, 1 to 1

Martin Wattinberg's Shape of Song, Map of the Market, Idealine

Mark Napier's Work

Josh On

Mary Flanagan, Collection

John Klima, Earth etc..

Golan Levin

Margot Lovejoy, Turing Point

Benjamin Fry, Valence

Another thought that has been occupying you recently is the rather Fluxus question of the relationship between the unique/limited edition, the gift economy, and the non art process of distribution. Specifically, you have been wondering whether selling an item such as a CD-ROM or video for a "normal" price (normal as defined by the market of mass production) might be the most honest way of dealing with Art as commodity, rather than making 10 and selling them for artificially high art price (and keeping most people from being able to experience the object) or giving them away for free. By honest, you mean that the gift economy pretends there isn't a non financial return on the gift (name recognition value, cultural capital, etc.). In addition, you have noticed how there is currently no outlet for this practice; there is no viable Indy Rock in the art world. At least, nothing which you can think of immediately.

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Beliefs and Practice
Chapter Five

Beliefs and Art Practice
Reasons you Make Art
Questions you have about Art
Things you Like
Things you don't Like
Current Ideas
Current Projects
Past Work
Previous Interviews

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