In response to Life Feed: Webcams, Art and People by Brian Droightcour:

It's fascinating to read about video from a combined lens of historian and artist critique; as I've participated and formed my own experiences with the topic-- something that before I've always been removed from temporally or geographically. Published in 2011, most of author Brian Droightcour's links to video artist archives lead to broken sites rife with 404s or undownloadable/viewable clips, echoing the fragility of smaller, older projects. It's not necessarily true that once something online, it's there forever. 

Avital Ronnell's conceptualization of video as a superhumanizing prosthesis is an accurate descriptor. As someone who for years (until the college workload hit my sophomore year) watched a few hours of video logs (vlogs; or, as the predecessor term Droightcour hi-lights: lifecasting [I argue this is still a more applicable term, but c'est la vie]) each day, I became enraptured in the lives, causes, and stories people across the country and planet put on youtube. 

I found it unusual that Droighcour didn't mention the vast community so often referred to by those who watch the same vlogger or pool of vloggers. Possibly Droightcour hasn't experienced it, or maybe he dislikes it, or doesn't consider it to be 'art' enough (unlikely), maybe his focus was on the earlier stuff, and he intentionally left out the yawning chasm of available content and its immense complexity.