There are probably still a few Emily Dickinsons and Henry Dargers holed up with their secret creations out there in the world, but more and more artists are working in a public realm these days. This is definitely true when artists make something and post it on the Internet, and doubly true when that creation samples sounds and images. Appropriation has become a familiar creative impulse, rather than a new idiom as it was for Pablo Picasso in Pipe, Glass, Bottle of Vieux Marc (1914).

"Black Moon–Nosebleed Scene": Stumbling upon clips of unreleased films on YouTube is like finding little gems. Black Moon features an Alice in Wonderland type character who emerges from an accident and enters a feature-length dream sequence. A truly strange film not released yet in the U.S.

In his recent book Feedback: Television Against Democracy (2007), David Joselit challenges artists with a manifesto that echoes a sentiment common among us: "How is your image going to circulate? Use the resources of the 'art world' as a base of operations, but don't remain there. Use images to build publics."

“The transmission of art exhibitions by television is the beginning of an era when the public will be taught to appreciate great works of art, seeing them in their homes.” This was the prediction made in a report written by one E. Robb for the BBC way back in 1933, less than a year after their first experimental television broadcast. For Robb, art on television meant pointing a camera at a painting or sculpture.

“Snow Driving Fail”: Since we are bombarded with all kinds of animated movies, it is a relief to see something that looks animated but is pure reality . . . and it shows that in the end nature is boss.