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The world in which we live would hardly be recognised by someone who lived and died half a century ago and who may have caught a glimpse of the television generation. The children born in the 90′s have only known a world where the Internet was a natural part of  their day to day lives. We now live in a society that verges on a digital tipping point that wraps and integrates our lives with the Web and it is no longer considered a luxury but a necessity in our modern lifestyle. So what is driving us to this digital dawn that is transporting us from the industrial past of the last 200 years and the TV industrial complex that emerged 50 years ago and embracing us in an information age that challenges our paradigms?

As I read both Carr and Shirky over the past couple weeks-who both seek parallels between the rise of the internet and digital social media and the invention of the printing press in the 16th century-I couldn't help thinking about medieval manuscripts. Since the early 1990s, both medievalists and electronic media theorists have pointed to the hypertexted quality of medieval illuminated manuscripts in making complementary claims: medievalists to continuing cultural relevancy and electronic media theorists in continuity to literary tradition. The medieval books we admire so much today are distinguished by the remarkable visual images, in the body of a text and in the margins, that scholars have frequently compared to hypertexted images on internet "pages."

From the 1st through the 6th of February 2011, we were shooting, editing and screening an immediated autodocumentary video at the Transmediale digital art and culture festival in the House of World Cultures in Berlin. Along with events like Ars Electronica and Future Everything, Transmediale is one of the most significant media art events in Europe. We were honored to be included in the Open Zone, a space which will be open to the public, described in the festival programme as "a social experiment with different social territories that are occupied by artists and media activists". We are calling this project The Future of Art. Our goal was a short video which explores questions about the future of art, both in regard to its aesthetics, production, finance, curation, distribution and collection. In addition to conducting interviews at the festival, we were reaching out to several artists in advance of the festival over Skype. Our intention with the Skype interviewees is to extend the discourse beyond the geophysical limits of the festival by including artists who we wish could be here with us in Berlin in February.

Parallels to our information overload problems in past times. Henry Jenkins is a leading scholar in comparative media studies who currently teaches at USC.

According to a report released by Freedom House titled Freedom on the Net 2011, Iran is the worst country when it comes to online freedom.  The top three countries, in order, are Estonia, The United States and Germany. The study judged countries based on three specific criteria: Obstacles to internet access, limits on content and violations of user rights.  They assigned each country a numerical score based on those criteria.  Countries scoring from 0-30 are designated "free," countries scoring from 31-60 are designated "party free" and those with score of 61-100 are labelled "not free."