Thank you Anna, Marc and Mark for describing your projects in such an in-depht manner. Mark feel free to talk more about your remixthebook and Reihard about the disadvantages of presenting web-based art, as I am sure their will bring into the discussion more food for thoughts!

Marc, I think you brought up something very interesting for this discussion. Something the I have been thinking about for a while in relation to how to overcome the often still existing conceptual/ontological distinction between online and offline exhibitions - which probably the topic of this month might seem to reinforce since it stresses the need to analyse the workings of curatorial work online, but this stress is my starting point to look at the relationship and similarities between these two modes of curatorial/artistic work.

So, you talk about 'transversal experiences' - which is something that also Anna stresses in the presentation of her work with/at Radio MACBA -, 'outer dialogues which are connected' to a work, its presentation,  which are now more present to the way we experience exhibitions. And I think this is something you achieve very well with your shows at Furtherfield, opening them up to discourses that 'operate outside of the fine arts tradition' - to use Mark's description when talking about his own practice. So here we are with your definition of exhibition as 'interface', 'a representation of current thought and experiments which communicate or relate beyond the object itself. We witness the continuation of an artist's or an art group's journey, displaying their discoveries and where they are at various moments. This has much to do with technology never standing still.' I am not really making a point here - as I don't have one yet - but the way you define this interface resonates with me because I know it is related to a practice - yours - which does not understand interface as bringing together multi-selsorial exhibitions in order to parallel our online experiences - as for example the speakers in the Guardian video that Bronac proposed to us seems to suggest - Rather, your idea of interface seems to be related to your intent to bring in external trajectories related to discourses that are not necessarily part of fine art discourses and are related to the socio-cultural and economic environment in which we live in. An interface which acts as a centre of attraction (and/or dissemination) for other issues that the works you have presented touch upon, and here I am thinking of your co-commission with AND Festival of the project A Crowded Apocalypse by IOCOSE. I wonder if you have something to say about commissioning this work, presenting it, as well as the work itself in relation to this notion of the 'interface'?

On another note, I wonder if Lindsay might want to talk about her project dump.fm/IRL which to me seems to directly link to this idea of exhibition as interface with a focus on experimenting with the relationship between the online/offline?

To end this series of thoughts, I would like to quote what Vito Campanelli wrote in his book Web Aesthetics in which he discusses the relationship between form and content in relation to web aesthetics and says that in order to answer to the question 'what does form mean in relation to the web?' it is necessary to introduce the concept of interface; "the interface is a fiction, a form that pretends that data can be held steady [...] the interface given to the subject's senses is nothing but a contingent, momentary form, a form that in that very moment seems to fix a more or less well-defined set of data [...] data that in actuality are always flowing".

Thank you,
Marialaura