«Speckergruppen Bildings» (1996). The term ‹bildings› combines the words ‹Bild› (image) and ‹buildings› and characterizes Specker’s working method: on the one side, her interest in the challenges posed by juxtaposing analog and computer technologies; on the other, her concern for images and building structures. Specker photographs buildings or architectural details, and later scans and processes them: details such as shadows and spatial incongruities caused by depth are eliminated in favor of achieving a flat structure. Since the results are finally produced with an inkjet printer, the works never simulate conventionally-developed photographs, but rather reveal, at least in part, their production route.

Jörg Sasse deals with architectural and landscape photographs similarly, but meanwhile works primarily with anonymous images. For years now he collects private photographs, snapshots of various situations, postprocesses them on the computer, and finally recirculates them – but not as private images; he recirculates them in the context of art (see the Podium Discussion with Jörg Sasse). [13] Through his finalizing ‹Arbeiten am Bild› (Working on the Image, also

the title of one of his catalogues), Sasse shifts the conceptual focal point of the photographs. [14] He gives the images new titles, merely four-figure combinations of digits, and new production dates, meaning the year in which he post-processed the found material. His works function at the interface between photography and painting. A good example of this is «9137, 2004», a color-drenched stage production altered to the point where it seems to dissolve in fields of color and dramatic lighting conditions, and whose strongly contrasting light and dark zones recall Baroque easel painting. In «8626, 1999» the red house in the forest is transformed into an oversized object, whose color intensity stands in a stark contrast with the darkgreen of the forest and makes this simple scene suggest the surreal.

In a different manner, the American artist Paul Pfeiffer as well plays with the wealth of collective memory. In his series «Landscapes» (2000), the viewer admires a beach landscape: dazzling light, clouds dispersing. One has to stare a while at what seem like conventional landscape images until, literally, traces of something else, another level, reveals itself: it seems as