The particular formation of art that has come to be known as Contemporary Art came about in the television age as a cultural form that was specifically for spectatorship. However today’s most ubiquitous networked media platforms (like Google or Facebook to site the most obvious examples) take us not simply as their spectators but as their very materials for algorithmically data-processed purposes that remain mostly invisible. These networks can be understood as sites of intersection between human and non-human materiality. They are what the philosopher Timothy Morton might call ‘hyper-objects’ – so massively distributed in time and space as to transcend localization and therefore too dispersed to be seen in their entirety (Morton 2007). They are effectively beyond spectatorship.