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Network technology – which is an open and freely developable system of publication for users – provides the opportunity for complete and independent expression to those familiar with its creative usage. The communication system allows us, users, to “surf” (or roam about); we may become tenants in and true users of our common virtual world, creating a specific situation, which simultaneously arches over space and time, emanating a complex sense of timelessness and infinity. The completely separate contents bring about a mixed context; new groupings, unusual combinations may come about, which might allow a new insight into the extant “institutionalised” artistic realms. This environment functions as a type of hoisting apparatus: you can move, import or discard motives and change already crystallised forms.

Indisputably, multimedia has become a part of our everyday lives; and moreover, it has been unnoticeably and irredeemably injected into our most fundamental actions. Similarly to science, modern art has become ubiquitous in our contemporary everyday lives, with a large portion of society being unaware of this fact. The tempo is always dictated by scientific and economic necessity. Art is omnipresent: it can be found in streets, banks, subways, shops, and homes. There is not a single place that is devoid of art: art is increasingly becoming like an incessant background noise, a sort of environmental pollution.

Extremely important is the community-creating role of interactive media, leaving irrevocable traces behind, creating its own rules, being able to represent collective work, thus shaping a sort of fictitious future, which I myself am an active part of.