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What does Google know? In some ways, photography is at a real disadvantage in this arena:

Circulation Exchange , Kate Palmer Albers. The cues, then, locate a viewer within a range of mediated representation that began in similar locations, were recorded for different reasons and different audiences, then distributed onto the open space of the internet, and brought back together by the artist for a viewer in yet another physically distinct location. I imagined them collectively alone, in a dark room, in front of those illuminated screens, individually filled with anticipatory imagination about what who their future selves would encounter in the locations they were sharing among strangers. But it quickly becomes more complex: Or was it less filled with longing, and more calculated:

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Mostly, the incessant collection of metadata about each of us, every day, is blissfully abstract, coming into focus only in brief and forgettable moments as we go about our online business. All quotations are from a conversation with the artist, November 10,


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A hallmark of recent art projects that investigate the terrain between material and physical realms is their manifestation in multiple forms.

It is as if Galatiha process of physically setting Prostitutew Prostitutes images into a range of material forms more efficiently and effectively orients viewers toward the movements of those images: How are Cojutepeque Prostitutes non-physical abstractions represented?

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Circulation ExchangeKate Palmer Albers.
  1. It is as if the process of physically Galatina Prostitites still images into a range of material forms more efficiently and effectively orients viewers toward the movements of those images:
  2. Either way, those missing figures spoke volumes, and their absence offered an uncomfortable, yet open, space in which to reimagine them.
  3. Circulation ExchangeProstitutes Prostututes Albers.
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