“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.
If certain sounds have entered the collective imagination, it is thanks to this that manage to evoke. The Big Ben, for example, is not only the city of London, but the memory of the time spent in the British capital for millions of people, for a moment, broken by the sound of the clock. Speeds Control of Time by Bill Fontana is a sound installation deconstructed the scan time of the mechanisms within the same Big Ben, acquired with twelve hours of recordings made with sensors and microphones, located right inside the famous bells. The sound of the gears can be layered with ringing of bells makes it perfectly the flow of time and immersed in a constant movement necessary to ensure the sociability of the time signal. Its transposition in a gallery, now open by appointment, disrupts the spatial dislocation, creating a continuum of sounds acoustically ferrous that recreates the mind the movement of time. Already from the stream can be used by the web you can perceive this dimension, which in a private location on the network, draws a complex and scanning movement ticking sound that monopolize the sense of hearing, letting you synchronize the time zone of Greenwich.