“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.
Usually at a concert, or in the presence of an event equally loud, these vibrations are perceived that the sound is 'heard' in a much more physical than usual. And a special stimulation of the eardrum attarverso particular tones active in us an irresistible curiosity to locate the source of that sound. A groped to 'see' the sound in the surrounding space, or to impress a sort of 'snapshot' of the frequencies and intensities coordinates are limited Acoustic Room . These experimental devices derive a sort of thermography of sound, delineated by colored areas that reflect their internal homogeneity acoustics. The visual result shows a map of the temporary sound that makes the exact sources and intensity. The invisibility of the processes acoustic reinforces its natural physical perception with the optical completing unequivocally identify the sounds in space. But the 'acoustic cameras' also form the basis for further processing, such as Acoustic Cartography , a software written in the language 'processing' by Daniel Rothaug that extrudes three-dimensional two-dimensional images obtained with the 'acoustic cameras', returning a first depth, however navigable, this illuminating mapping of sound waves.