The information age is an age of permanently getting stuck. Greater and greater speed is demanded. New software, new hardware, new structures, new cu… - Johannes Grenzfurthner

Contemporary art -- the field we are usually working in because there's money -- is mostly concerned with systems or systematic concepts. In the context of their work, artists adapt models of individual art-specific or economic or political systems like in a laboratory, to reveal the true nature of these systems by deconstructing them. So would it be fair to say that by their chameleon-like adaptation they are attempting to generate a similar system? Well... the corporate change in the art market has aged somewhat in the meantime and looks almost as old as the 'New Economy'. Now even the last snotty brat has realized that all the hogwash about the creative industries, sponsoring, fund-raising, the whole load of bullshit about the beautiful new art enterprises, was not much more than the awful veneer on the stupid, crass fanfare of neo-liberal liberation teleology. What is the truth behind the shifting spheres of activity between computer graphics, web design and the rest of all those frequency-orientated nerd pursuits? A lonely business with other lonely people at their terminals. And in the meantime the other part of the corporate identity has incidentally wasted whole countries like Argentina or Iceland. That's the real truth of the matter.

It's not working from home, it's living at work.

The widespread inability to understand technological artifacts as fabricated entities, as social and cultural phenomena, derives from the fact that in retrospect only those technologies that prove functional for a culture and can be integrated into everyday life are 'left over.' However, the perception of what is functional, successful and useful is itself the product of social and cultural--and last but not least--political and economic processes. Selection processes and abandoned products and product forms are usually not discussed.