Foster makes reference to this development in his text «The Archive without Museums.» He supports the thesis that the «techniques of information to transform a wide range of mediums into a system of image-text» are the conditions for the emergence of a «database of digital terms, an archive without museums.» According to Foster, this process caused the academic paradigm shift from classic art history (oriented towards the photographic archive) to the discourses on visual culture—that is, those new efforts in ‹visual studies› which tear down the difference between ‹high› art and other ‹lesser› types of images. [79] Following Malraux, he poses an important question: «After photographic reproduction the museum was not so much bound by walls, but it was bordered by style. What is the edge of the archive without museums?» [80] Archive without museums is Foster's expression for the delimited digital ‹anarchive› [81] (in the Internet)—what then could new principles of order be; or do implicit orders already exist which are still too far removed from our sight? Foster endorses Greenberg's entreatment of the avantgarde. However, «the battlefield of Alexandria and avant-garde has changed

today, and strategic aesthetics must be devised accordingly.» [82] But what could such a strategic aesthetics be? This is a question which (certain) media artistic approaches will have to ask themselves in future—and which they already pose. The connecting element between many of the different artistic examinations of the post-photographic archive seems to be just this—to discover suppressed, oppositional orders and logics in what appears to be such a dispersive material, or to invent new orders and logics that allow structuring the heterogeneous differently. In this, the issue is not a nostalgic return to the safe refuge of the museum—which is impossible as it is— rather, the point is to keep the discussion on the archive of the future in motion, that is, of working on alternative models to the archive. It is a matter of inventing orders which elude the commercial or military opportunities and adjustment (Nietzsche) of the archive.