Bloomsbury Academic, ISBN-13: 978-1501347764, English, 168 pages, 2018, USA

In the struggle to find adequate definitions for the rapidly evolving forms of art made with technology, there has been a proliferation of compound words, in the hope that some will become accepted. Ceci Moss has, over the years, developed a whole body of work about internet art produced in the 2010s, especially through her work at Rhizome and the New Museum. Her ‘expanded’ adjective is self-explanatory, and meant to define the “extension of internet artworks towards other platforms”, as a “continuous multiple element”. This is grounded in Tiziana Terranova’s notion of the “information milieu”, which has now become ubiquitous, and whose fluidity is embodied in the artworks discussed, all constructed with an essential information flow. Artworks from Harm van den Dorpel, Kari Altmann and Artie Vierkant are discussed as examples before considering a core event for these topics: Lyotard’s exhibition “Les Immaterieaux“, whose “symbiotic ontology with technology” is now a “normative state”. It also leads to the discussion of “attention-grabbing” works, as in the examples of Kate Steciw, Katja Novitskova, The Jogging, and Timur Si-Qin. In this book Moss gives a proper theoretical framework for understanding this most recent controversial period for internet art, elucidating its very dynamic characteristics, which are simultaneously composing its very nature.