How did the internet go from the utopian free-for-all, open source heaven, libertarian last frontier to the current state of permanent surveillance, exhibitionism and paranoia? This duplicity is the underlying thread that links the artists, activists, and researchers in The Black Chamber, an exhibition, a symposium, an urban intervention and a publication. The Black Chamber aims at discussing the delicate and often awkward role of art and imagination in the age of mass surveillance, stressing the multiple connections between post-studio art and independent research, grassroots reverse engineering, and new forms of political activism in the age of networks. Not just an exhibition catalogue, this book is also an attempt to show the exhibited works as part of larger research processes. With works and original contributions by Jacob Appelbaum & Ai Weiwei, Laura Poitras, Metahaven, Zach Blas, James Bridle, Emilie Brout & Maxime Marion, Simon Denny, Jill Magid, !Mediengruppe Bitnik and Evan Roth.

AFK features twelve texts about eleven artists and an artist duo: Rosa Menkman, Jon Rafman, Gazira Babeli, Martin Kohout, Maurizio Cattelan, Enrico Boccioletti, Constant Dullaart, Jill Magid, Aram Bartholl, Emilie Brout & Maxime Marion, Evan Roth and Addie Wagenknecht. These artists experienced the impact of digital means of production and dissemination, they experimented with them, they thought about them, and all this is reflected in their work. As Peter Sunde, the co-founder of the Pirate Bay, they think the internet is real, and they spend a lot of time in this real space of life, communication, love, hate, surveillance, sharing, and copying. Most of the works discussed here are made to be experienced in a brick and mortar space, away of keyboard; but reflect the current way of living, communicating, loving, hating, spying, sharing, copying, on and away of keyboard.

Originally published in 2009, this book collects the work made between 1999 and 2009 by Austrian duo UBERMORGEN (lizvlx and Hans Bernhard). Along that decade, UBERMORGEN developed a consistent oeuvre, focused on the ability of media to infiltrate reality to the point of completely altering the perception of it or even its social, biological or human infrastructure; and on the potential of art to engage a dialogue with economic, bureaucratic and informational systems. All these works are presented extensively through pictures and introductory texts, and discussed in depth in two essays by Domenico Quaranta and Dr. Inke Arns. The book also features a visual tribute by artists JODI.ORG. UBERMORGEN have exhibited in museums and galleries internationally since 1999, including HKW, Berlin; MUMOK, Vienna; MACBA, Barcelona; Ars Electronica, Linz; SFMOMA, San Francisco; Witte de With, Rotterdam; Centre Pompidou, Paris; New Museum, New York; Sydney and Gwangju biennales.

Eternal September. The Rise of Amateur Culture is a group exhibition that explores the relationship between professional art making and the rising of amateur cultural movements through the web, an historical event that is triggering a big and fascinating shift in every field of culture, especially visual culture. This catalogue features a curatorial text by Valentina Tanni, together with an interview with artist Matthias Fritsch, the man beyond the Teknoviking meme, an essay by artist group Smetnjak on practicing critical theory in the form of internet memes, and visual documentation of Tanni's ongoing curatorial project The Great Wall of Memes. Featured artists: Mauro Ceolin, Paolo Cirio, Electroboutique, Paul Destieu, Matthias Fritsch, Colin Guillemet, David Horvitz, Maskull Lasserre, Aled Lewis, Dennis Logan (Spatula007), Valeria Mancinelli and Roberto Fassone, Mark McEvoy, Casey Pugh, Steve Roggenbuck, Helmut Smits, Pawel Sysiak & Tymek Borowski, TheGamePro, Phil Thompson, Wendy Vainity.

In more than five years of activity, the Free Art and Technology Lab produced an impressive series of projects, all developed with open source software, shared online and documented in a way that allows everybody to copy, improve, abuse or simply use them. This approach situates F.A.T. Lab in a long tradition of DIY, processual, sharable artistic practices based on instructionals, and reveals a democratic idea of art where Fluxus scores meet hacker culture (and rap music). The F.A.T. Manual is a selection of more that 100 projects, done in the belief that printing these bits on paper will allow them to spread in a different way, infiltrate other contexts, and germinate. An archive, a catalogue, a user manual and a software handbook. F.A.T. Lab is an organization dedicated to enriching the public domain through the research and development of creative technologies and media. Co-produced by Link Editions and MU in collaboration with XPO Gallery, Paris.

"Beyond New Media Art" is the revised, updated version of a book first published in Italian with the title "Media, New Media, Postmedia" in 2010. Through the circulation of excerpts, reviews and interviews, the book produced some debate outside of Italy, which persuaded the author to release, three years later, this English translation. "Beyond New Media Art" is an attempt to analyze the current positioning of so-called New Media Art in the wider field of contemporary arts, and to explore the historical, sociological and conceptual reasons for its marginal position and under-recognition in recent art history. On the other hand, this book is also an attempt to suggest new critical and curatorial strategies to turn this marginalization into a thing of the past, and to stress the topicality of art addressing the media and the issues of the information age. Domenico Quaranta (http://domenicoquaranta.com) is an art critic, teacher and curator. He regularly writes for Flash Art and Artpulse.

Produced as a catalogue for the exhibition Holy Fire, Art of the Digital Age (2008), this book is more than a simple catalogue. Along with the works of the 27 artists in the exhibition it features the editors' essays along with a collective interview involving some of the most important representatives of the new media art world. a Holy Fire is not a book on new media art, but an exploration of the contemporary art of the digital age, and a pamphlet against the new media art paradigm and the self-isolation in which these practices evolved in the last sixty years.a In the words of Regine Debatty: "Forget the new, drop the media, enjoy art." With contributions by: a Inke Arns & Jacob Lillemose, Alexei Shulgin, Vuk Cosic, Regine Debatty, Steve Dietz, Olia Lialina & Dragan Espenschied, Patrick Lichty, Vicente Matallana, Eva & Franco Mattes, Christiane Paul, Magdalena Sawon & Tamas Banovich, Paul Slocum, Bruce Sterling, Michele Thursz, Mark Tribe, UBERMORGEN.COM, Karen A. Verschooren and many others.

The last decade has seen an incredible growth in the production and distribution of images and other cultural artefacts. The internet is the place where all these cultural products are stored, classified, voted, collected and trashed. What is the impact of this process on art making and on the artist? Which kind of dialogue is going on between amateur practices and codified languages? How does art respond to the society of information? This is a book about endless archives, image collections, bees plundering from flower to flower and hunters crawling through the online wilderness. Alterazioni Video, Kari Altmann, Cory Arcangel, Gazira Babeli, Kevin Bewersdorf, Luca Bolognesi, Natalie Bookchin, Petra Cortright, Aleksandra Domanovic, Harm van den Dorpel, Constant Dullaart, Hans-Peter Feldmann, Elisa Giardina Papa, Travis Hallenbeck, Jodi, Oliver Laric, Olia Lialina & Dragan Espenshied, Guthrie Lonergan, Eva and Franco Mattes, Seth Price, Jon Rafman, Claudia Rossini, Evan Roth, Travess Smalley, Ryan Trecartin.

Originally published in 2008, this book documents the life and work of Gazira Babeli, the avatar artist active in Second Life between 2006 and 2010. In about 4 years, Gazira Babeli has created a vast body of works which address the world she lives in, and which have lent her such a solid, recognizable image that she has become a household name in Second Life. She acts like a virus, unleashing earthquakes, tornados and storms of images, deforming the bodies of other residents and constructing metaphorical machines; a capricious deity, she herself is a work of art, a "constructed identity" which ably generates its own legends. This monographic publication tells her story, and presents and analyzes the most significant areas of her work, with contributions from writers such as Mario Gerosa and Domenico Quaranta, and Americans Patrick Lichty and Alan Sondheim.

The last decade has seen an incredible growth in the production and distribution of images and other cultural artefacts. The internet is the place where all these cultural products are stored, classified, voted, collected and trashed. What is the impact of this process on art making and on the artist? Which kind of dialogue is going on between amateur practices and codified languages? How does art respond to the society of information? This is a book about endless archives, image collections, bees plundering from flower to flower and hunters crawling through the online wilderness. Alterazioni Video, Kari Altmann, Cory Arcangel, Gazira Babeli, Kevin Bewersdorf, Luca Bolognesi, Natalie Bookchin, Petra Cortright, Aleksandra Domanovic, Harm van den Dorpel, Constant Dullaart, Hans-Peter Feldmann, Elisa Giardina Papa, Travis Hallenbeck, Jodi, Oliver Laric, Olia Lialina & Dragan Espenshied, Guthrie Lonergan, Eva and Franco Mattes, Seth Price, Jon Rafman, Claudia Rossini, Evan Roth, Travess Smalley, Ryan Trecartin.

There is this hacker slogan: "We love your computer." We also get inside people's computers. And we are honored to be in somebody's computer. You are very close to a person when you are on his desktop. Jodi, 1997 This book is a collection of texts written by Domenico Quaranta between 2005 and 2010 for exhibition catalogues, printed magazines and online reviews: a pocket version of what the author would save from the universal flood, in a world without computers. Most of the fields of research he has developed are represented: from Net Art to Software Art and videogames, from biotechnologies to the debate around curating and the positioning of New Media Art in the contemporary landscape, and back to Net Art again.