Arachne Publishing, ISBN 8854800287 Art in the network is not solely that which occurs iteratively in the texts and reconstructions of the most. There are several works, the artists and the currents of thought, though he belongs to this definition are legitimately on the sidelines of officialdom. One of these is the movement 'neen' a real character as Miltos Manetas, greek artist transplanted in the United States that focuses its work on the relationship between art and technology with a specific network that permeates it continuously. This text, therefore, focuses on the analysis of this phenomenon and its fascinating ruminations offering space to reflections from the pack, as has been amply demonstrated in the debate generated during the preview edition of Synthesis 2004, faithfully transcribed in the text . The exquisite 'ars eloquendi' the artist has shown a particular ability to make ironic the mechanisms of art, at the same time taking them very seriously. On the whole, however, emerges the concept a bit 'Dadaist' neen 'which dovetails perfectly into the same dynamics of art and at the same time scoffs sublimating in a continuous circular reference and paradoxical. What is, therefore, weighted by the reflections of Bells, is one bursting apart with new insights and a continuous play of communication plans. Spirit and critical deconstruction, poetry and hacking, the official and the potential illegality will bounce continuously in the words and in the work of Manetas, in a continuous ping-pong between the perfect deconstruction of the mechanisms of contemporary art, on one hand, and the imaginary poetic of the network and its infinite possibilities, on the other, opposite each other and conversational. A nodal contribution, therefore, the large (and often self-destructive) debate about net art that calls into play many of its potential.