Internet “surf clubs” (artist-run, invitation-only group photoblogs) have been critically described by their practitioners using a variety of loosely defined, partially elucidating analogies: film montage (Olson), Duchampian found objects (Moody), Cornellian wunderkammern (Bewersdorf), and semiotic play (Ramocki). This paper analyzes group photoblogging, public bookmarking (via sites like delicious.com), “artistic surfing,” and related practices from the more fruitful/apt perspective of de Certeau’s “tactical consumer.”
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Internet “surf clubs” (artist-run, invitation-only group photoblogs) have been critically described by their practitioners using a variety of loosely defined, partially elucidating analogies: film montage (Olson), Duchampian found objects (Moody), Cornellian wunderkammern (Bewersdorf), and semiotic play (Ramocki). This paper analyzes group photoblogging, public bookmarking (via sites like delicious.com), “artistic surfing,” and related practices from the more fruitful/apt perspective of de Certeau’s “tactical consumer.”