The highly compressed, deteriorated ‘poor image mocks the promises of digital technology. Not only is it often degraded to the point of being just a hurried blur, one even doubts whether it could be called an image at all.’ The aesthetic affect of digital images thus stands in metonymically for the networks they navigate and the means by which those networks are exposed.

A high culture is the self-consciousness of a society. It contains the works of art, literature, scholarship and philosophy that establish a shared frame of reference among educated people. High culture is a precarious achievement, and endures only if it is underpinned by a sense of tradition, and by

The History of Art is filled with forgeries, but are there fakes in digital art fields made from creative cut-and-pastes, collaborative works and infinite works? We approached four people who, pondering the notion of fake, point to characteristics specific to digital art.

According to this view, ancient viruses, as with the ones today, could only make copies of themselves by succesfully infecting a host. So they become engines of innovation, using every possible dodge to get their genetic payload inside the host cell. In an early, RNA-protein world, there would not be enzymes to degrade DNA, so a virus encoded by DNA would have a big survival advantage. This suggests a scenario in which a clever parasite brings along DNA plus the means of copying DNA-- a different parasite at least for bacteria and archaea/eukaryotes-- and hijacks the cell's existing interpretation equipment. The symbiosis of virus plus RNA/protein cell eventually resulted in the modern arrangement of DNA, RNA and protein.

The pairs of images in this "Similarities" set are similar visually in one way or another. They are presented without judgement as to the motives of their creators. The viewers of the pieces can form their own opinion(s) about what they see.

Some are "accidents": The creator of the similar piece had no knowledge of the original. Examples would be the 1982 Rafal Olbinski / New Pornographers posters and the Idea magazine cover / Okkervil River poster.

Some are "re-contextualized": Obscure imagery from long forgotten sources was used from vintage printed ephemera like 1940s and ’50s Popular Mechanics ads, matchbook covers, stamps, comic books, cook books, etc. giving them new life in a new form. An example would be the Czechoslovakian Matchbox Label and the Vibe Killers poster.

Shanzai is the name used for a huge black market industry that (currently) specialises in making fake mobile phones in small factories. Basements. We’re not talking about a few phones either. The volume is terrifying. According to CCID Consulting in 2007 an estimated 150 million phones - 20% of the 750 million devices produced in China - were counterfeit or off brand.

Initially carbon copies of the genuine article, more recent shanzai phones sometimes add eccentric new features to meet the demands of the market and can produce them far quicker than the genuine manufacturers can adapt (apparently 28-30 days to market). It’s probably because they have access to the components, tools, skilled factory workers and they’re not held back by corporate bureaucracy, legal issues, manufacturing schedules and overheads - or safety. For example shanzai Nokia phones had dual SIM slots before the genuine ones did -