1995 was the year in which internet use really took off, and fifteen years later, as information environments generate new architectures and the concomitant communications, it is evident that the imaginative power of the net is growing at an incredible rate, sustained by a deluge of data. However, if we note that in structural terms, this imaginative power is generated by 'appropriation', it is worth reexamining the fact that as art critic Atsushi Miyakawa has pointed out, it was the readymades of Duchamp that summoned the propriety of 'appropriation'.
Discussion along these lines in Japan from the late 1960s into the 1970s, while touching on problems in the arts and technology and taking as a point of reference for example Te no shikken (The hand's forteiture of rights) (Miyakawa, 1969), led to the 'collapse of the concept of "making"', but the intention of this exhibition is to contrast and posit anew bricolage-like horizons that 'try to suspend the context itself of so-called creating/viewing' discussed by Miyakawa. To do so would in turn mean viewing the act of 'making' as a construction of 'appropriation'. data and vision does not grasp the act of 'making' and its outcomes from a unitary (once-only) viewpoint, but sees it as a node for feedback accompanied by links. As a result works of art function as data of sorts, and by connecting with background systems, reveal a vision of potentiality of latent plurality. In such horizons we feel that we are being thrown into a matrix of 'appropriation' in which the relationship between creation and appreciation has seemingly been rewritten - but have we?