"We need not destroy the past; it is gone. At any moment it might reappear and seem to be and be the present. Would it be a repetition? Only if we thought we owned it, but since we don't, it is free and so are we." John Cage, Lecture on Nothing <continued>

The "commons" as defined in Euro-American contexts functions as a kind of anonymous resource in which individuals can freely take materials without permission, ethical responsibilities or social contract. No payment or gift is required, no <continued>

"New Criteria for New Media"Version 2.2, January 2007 Published in Leonardo (Cambridge) 42, no. 1 (spring 2009). Free download.Authors: Joline Blais, Jon Ippolito, and Owen Smith in collaboration with Steve Evans and Nate Stormer. ABSTRACT: An <continued>

                An examination of how ideas are discovered in synchronous and asynchronous collaborations, along with a proposal for a new hybrid tool that leverages the <continued>

This essay is an expanded version of a presentation at the 2007 DOCAM Summit, Daniel P. Langlois Foundation for Art, Science, and Technology, Montreal, 26 September 2007.

Still Water co-director Jon Ippolito takes a look at emblematic cases of the transition from subversion through conversion to development in connections between art and industry in the last fifty years. This talk was first presented at the <continued>

This essay makes the case for abandoning the claim that art is property--material or intellectual--and suggests alternatives that may be more useful for artists and their heirs. "Why Art Should Be Free" was originally published in August 2002 on <continued>

Digital performance is a genre whose ephemerality makes it extremely vulnerable to obsolescence and oblivion. Yet in this essay Jon Ippolito argues that the process-oriented character of digital performance makes it a better model for the long-term <continued>

The innocuous-looking wall label--featuring a single artist, title, date, medium, dimension, and collection--represents a cultural paradigm based on singularity and stasis and rather than multiplicity and movement. The most dynamic art of the past <continued>