There is a lot just in this paragraph of Claire Bishop's. It hits a sense of the archival, the individual, the idea of future exploration through past, the hyperlink, technologically facilitated emotions.

In other words, the internet liberates the artist-researcher from academic protocols, and a different type of research becomes possible and validated—a line of thinking governed by drift rather than depth, creative inaccuracy rather than expertise, and accessibility rather than the ivory tower. Nicolas Bourriaud’s term semionaut might be the best description of this approach: Drifting from signifier to signifier, the artist invents meandering trajectories between cultural signs.14 In contrast to the first phase, which used a digital logic (the hyperlink) to structure the presentation of primary research, in this second phase a digital dérive is presented as an analog display. The cold uniformity of the plasma screen is discarded in favor of a more auratic interface and array of objects. Foster’s will to “connect what cannot be connected” is less a paranoiac symptom than a definition of surfing, updating a trajectory of chance encounters that can be traced from the nineteenth-century flaneur to Surrealism to the Situationists—but now with a technological substrate in place of the unconscious.