Simondon's push to view form and matter as always already immersed in each other's constitution—rather than as distinct entities—is significant not only for an understanding of information but also for matter. Critic Josephine Bosma picks up on this in her book Nettitudes: Let's Talk Net Art, where she refers to Simondon and thinkers inspired by him, such as Brian Massumi and Gilles Deleuze, to elaborate a non-reductive approach towards matter in an effort to reconsider the role of medium—in other words, material that is employed in an artistic process. Rather than viewing matter, medium, and body as static objects, Bosma reorients the conversation toward an understanding that matter (and, by extension, medium) are constantly in a state of movement and change. Central to her argument is Brian Massumi's definition of matter in Parables for the Virtual as a "form-taking activity immanent to the event of taking form." Matter is not inert, but a potential. Thus, when artists activate all the components that go into an artwork, they participate in what Simondon's termed "resonance" where all elements—matter, technology, body—momentarily sync up with each other. I think of Kari Altmann's practice, where her website acts as an ever expanding database which establishes an equivalency between produced and potential projects, in which all are presented under the header of "content," in many ways mirroring how computers read everything across the board as data. Identifying herself as a "cloud-based artist," Altmann views exhibitions as "another software, another medium that you have to export to." For example, in her series Core Samples I (2011-Ongoing), Altmann acted as a "mutated search algorithm" to aggregate the same orb design across images found online in order to recognize reoccurrences of certain motifs, especially in advertising and stock photography. Core Samples I (2011-Ongoing) has been instantiated as a sculptural "floor model," as videos, and as a blog post for DIS. Altmann's work is very much about the labor of aggregating content, where she constantly compiles and organizes images not only for Core Samples but also across multiple sites like R-U-In?s and Garden Club. By inserting herself into the stream and codifying it according to her own logic, she develops a vision that twists the rapid systemization of information. For Bosma, it is this attuned, intuitive relation to technology that makes artists like Altmann and others so valuable, stating, "…a close 'resonating' with the medium and with technology is a powerful state of being, an awareness of which enables us to also develop responsible or meaningful strategies for an engagement with matter, technology, and the world." Both Bosma and Terranova allow us to think of the artwork as being both within and of informational logic in symbiosis, rather than something that is medium specific or medium determined.