reservoir of images. Artists have accessed this reservoir from the very beginning—at first as picture copy, and finally also in order to analyze the appropriated material, to process it, to recontextualize it, to reevaluate it. This reservoir not only continues to grow with digitalization, it also makes images available that one previously at best came across accidentally or by way of one's activity as a dedicated collector. However, of central significance is the transformation the image archive is undergoing through its transferal into the non-locality of digital networks. The text «Archive—post/photographic» by Jens Schröter looks into the conditions and the consequences of digital image databases. He examines the paradox of the potential endurance and mechanical impermanence of digital data, of the general accessibility of electronic image archives, and the actual limitations of their use. Not lastly, with the distribution of artistic, journalistic, private, etc. photography in the Internet, the issues of copyright protection and authorship gain new explosiveness; the extended availability of images also opens up the possibility not only of conceiving of new orders of images (i.e. beyond

administratively controlled access), but also of testing them.