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The selected works all take very different approaches to the open call out, and we hope that in combination they will enable us to begin a conversation about what might be meant by 'appropriation beyond the object', that touch on structures emergent with new technologies, both historically and contemporary, that shift our relations and alter our contractual agreements with one another, both subtley and significantly.

Scott Mason's screensaver accumulates several interwoven fictions taking the subject ofThe Moment between Creativity and Commodification: by artists/writers: Harry Burke, Annie Davey, John Hill, ... Pedro Neves Marques, Sally O'Reilly and Frances Scott, that in combination, although grammatically correct, are hard to read as anything other than image.

Erica Scourti's work integrates back into the world it emerges from, as others use her uploaded stock video footage, which she enacts in response to the simplistic stock photo key words 'woman', 'nature' and 'alone', and as some measure of their success, find their way into several new music video productions, presented in the project space.

Arnaud Desjardin as artist and publisher: The Everyday Press, considers alternative methods of distribution for his sometimes bootleg publications, through a more socially amenable exchange, that question issues of copyright and the right to knowledge, whilst introducing just as absurdly complex contractual arrangements via IOU's. There will be 25 copies of the publication No Land for exchange over the exhibition period.

Starting from Maurizio Cattelan's work Bidibidobidiboo 1996, Ovidiu Hulubei's drawings try to explain the reasons why the squirrel commits suicide, touching on issues of: 'social media and the production of social relations, legal structures and new issues of copyright, structures of the gallery, art market, and beyond'... before fate finally catches up with him, again.

Steven Paige's pamphlets re-engage historically with the political potential of pamphleteering, which played a vital part in many political upheavals: The Popish Plot, the Exclusion Crisis, and briefly the English Republic. Several writers of the time including Spinoza and Descartes are appropriated as activists, their text performing a call to arms, the format of the pamphlet valued for its political instrumentality. The pamphlets will be distributed for free from BR at 8am to a packed platform of commuters throughout the exhibition period.

In the first half of the 20th century, a movement called Mass Observation was begun by an artist, a filmmaker and an anthropologist. Through diaries and questionnaires, observers became recorders, capturing the everyday existence of their own lives and the lives of those around them. Working with the archive at The University of Sussex, SE Barnet eschews notions of expert culture, instead emphasizing misuse and universality, tweeting @BRartreader #masslyobserved, selected lines of text from the 1937-38 Day Surveys throughout the exhibition.

Michael Hampton presents a reader: A Prettier Type of Woman! of the notorious1994 US Supreme Court ruling, documenting the case of Campbell, aka Skyywalker, et al v Acuff-Rose Music, Inc with minimal intervention; the merest trace of artistic suggestion, which will be available for browsing in the reading room. Hampton has just written a feature for Art Monthly about mock and modified newspapers, which may also be of interest with regards these ideas.

Cristina Garrido presents two copies of her self-published book THIS IS ART NOW VOL.1(2013). Curating virtual objects from Google's 3D software SketchUp Warehouse orComponents Database, into virtual SketchUp scenarios as exhibition spaces, she seeks to raise questions regarding systems of legitimation and attribution of value in a globalized art world touching on conditions of immaterial labour, the status of the art object, and authorship. Seven art critics and writers have contributed texts on the practice of each 'artist' inventing a context for their work, and details of the artist and their work, translated into English Spanish and German.

Taking on the language of music videos, film-trailers and tv adverts, Toby Huddlestone produces something hovering between that of an artwork and a promotional video, echoing the framework(s) of popular culture and shifting the location of 'the exhibit' within the exhibition, to be found on the website www.bannerrepeater.org.

During the exhibition we will also be distributing the booklet 'On Wikileaks, Bitcoin, Copyleft - Three Critiques of Hacktivism' which collects the writings of the Wine & Cheese Appreciation Society of Greater London and the Kittens Editorial Collective on activism in the digital realm. The piece on Wikileaks critiques its appreciation of the bourgeois-democratic state which persecutes it. The article on Bitcoin deals with the political economy of the digital currency and critiques the Libertarian ideology driving it. Finally, the piece on free software and other digital commons portrays how copyleft software licences are still expressions of appreciation for the social conditions we are forced to live under.