“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.
Sound installations frequently dispense with linear musical time by means of spatial arrangements. In the work “another soundscape” by Chung-Kun Wang, linear time is reintroduced and represented spatially following the model of western musical notation. Exhibited at the Digital Art Center di Taipei, what the artist defines as a “real object score” employs thirty small cable cars suspended on wires stretched across the room to act as notes on a pentagram. The cable cars are simple automata which have two states: either moving left or right; they change their direction when they detect another car on their path. This produces a self governing system, in which the notes are continuously changing their position on the timeline. On another set of wires, parallel to the first one, a reader moves from left to right scanning the score. When the reader passes over a car, it sends a signal to a computer which generates a sound. The linear behavior of this reading system contrasts with the volatile character of the score, creating a paradox which mirrors the condition of contemporary culture, in which historic methods based on the written tradition coexist with post-historic or electronic ones in which the past changes as quickly as the present.