Roy Arden's article "The World as Will and Representation" explores his web-based project that compiles over 10,000 images from the internet, reflecting the diversity and complexity of the real world. Arden's work is structured around arbitrary entries, creating a kaleidoscopic flux of images that leaves viewers in awe and confusion. This project highlights the impossibility of creating a comprehensive virtual archive, revealing the limitations and incoherence of digital image collections. Arden draws on Arthur Schopenhauer's philosophy, which emphasizes the world as will and representation, to underscore the repetitive and circular nature of images in the digital age. Arden's journey into collecting images began in childhood, starting with cutouts from magazines and later expanding to mental archives. He was fascinated by the visual aspect of information, particularly in the 1960s when he explored encyclopedic and archival models in visual art. He notes the tradition of artists like Kurt Schwitters and later figures who used existing images as raw material, challenging traditional notions of originality in art. For Arden, the work of Hans-Peter Feldmann is particularly significant as he was among the first to embrace pure appropriation. Arden's archive, "The World as Will and Representation," includes both paper cuttings and digital images, emphasizing the importance of subject over author. He collects images that are photographic, vernacular, and non-artistic. The project reflects on the nature and scope of the image world, acknowledging the instability of the internet as a medium. Arden's work is a poetic and playful exploration of the endless, often chaotic, process of collecting and ordering images, ultimately revealing the folly of such an enterprise.Roy Arden's article "The World as Will and Representation" explores his web-based project that compiles over 10,000 images from the internet, reflecting the diversity and complexity of the real world. Arden's work is structured around arbitrary entries, creating a kaleidoscopic flux of images that leaves viewers in awe and confusion. This project highlights the impossibility of creating a comprehensive virtual archive, revealing the limitations and incoherence of digital image collections. Arden draws on Arthur Schopenhauer's philosophy, which emphasizes the world as will and representation, to underscore the repetitive and circular nature of images in the digital age. Arden's journey into collecting images began in childhood, starting with cutouts from magazines and later expanding to mental archives. He was fascinated by the visual aspect of information, particularly in the 1960s when he explored encyclopedic and archival models in visual art. He notes the tradition of artists like Kurt Schwitters and later figures who used existing images as raw material, challenging traditional notions of originality in art. For Arden, the work of Hans-Peter Feldmann is particularly significant as he was among the first to embrace pure appropriation. Arden's archive, "The World as Will and Representation," includes both paper cuttings and digital images, emphasizing the importance of subject over author. He collects images that are photographic, vernacular, and non-artistic. The project reflects on the nature and scope of the image world, acknowledging the instability of the internet as a medium. Arden's work is a poetic and playful exploration of the endless, often chaotic, process of collecting and ordering images, ultimately revealing the folly of such an enterprise.