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Using superimposition and casual numerology as a means to build on Guthrie Lonergan's notion of the default, these opacity studies explore the anxiety and ecstasy of postinternet artistic influence. I work specifically with the documentation of art I've never encountered in person, at different levels in the market, in order to explore how the partly market-determined ecstatic anxiety of influence interacts with Droitcour's ideas about the role of documentation in postinternet art. Droitcour argues the latter "doesn't activate space" and pornifies itself via full-frontal preening for documentation with the goal of looking good online. If this art doesn't activate space, does it activate the screen? More generally, without succumbing to what Nathan Jurgenson calls 'digital dualism,' or the IRL/URL split, it's worth asking the question: what does space become, postinternet? Can we love art we've only seen on the screen? Can a Steyerlian circulation of overcompressed images, buttressed by an artist's social media presence, stand in for the exhibition experience? Does that matter? Can we review shows without going to the exhibitions? Is FOMO the same thing as "you had to be there"? Do I have to be here? Is there a there there or did it go elsewhere? If I sweep the dust in the kitchen, take a photo of the dustpile, and raise the fuck out of the contrast, exposure, and saturation, can I call it my next sculpture? Did I need to be there to be able to celebrate or condemn Kenneth Goldsmith's reading of the state's autopsy report of Michael Brown? These are the kinds of questions that I find myself working through when I make pieces for this series. "I’m in love with the struggle as something real coming through this structure. I hate utopian fantasies of the Internet as this totally free, democratic space that will make our lives better. We’re all using this preexisting foundation that will always be there no matter what. Defaults are also a reaction to the “infinite” choices and possibilities offered by the virtual (letting the computer choose for you). You can’t get off the grid, but the struggle of normal, basic Internet users to get something real through this existing grid is really exciting. On some level, I think of default as a metaphor for all kinds of mediated distance, for the way we feel dissociated from war, money, art, and music." Guthrie Lonergan at Light Industry, 2009