With no need to make money there is no financial
influence on the curation: projects do not need to be commercial, nor do they need to fulfill requirements for funding; they can be entirely based on merit and curiosity.
Jesse Darling «s materialisation of software's
influence as owner and objectifier in Photoshop 1 (Healing Brush, Clone Stamp, Paint Bucket)(2013) confuses the point where the body ends and the image begins, while Harm van den Dorpel «s «Untitled assemblage (selfie)» (2013) mimics the cyclical nature of identity creation and
curation within its sphere of digital prints
on perspex while still dangling within, and being dwarfed by the concrete structures surrounding it.