2007, Jacob F. Kirkegaard, The Accelerating Decline in America's High-skilled Workforce: Implications for Immigration Policy, Peterson Institute, →ISBN:
These findings make it hard if not impossible to convincingly argue—media anecdotes notwithstanding—that the aggregate labor-market situation facing the US software workforce has, after a postinternet boom downturn, […]
2010, Garry Mulholland, Popcorn: Fifty Years of Rock 'n' Roll Movies, Hachette UK, →ISBN:
A somewhat different idea of porn to the explicit and brutal one that rendered softporn movies redundant in the post-internet world. A strangely counter-cultural one, in truth.
[2011 August 18, Abby Aguirre, “Out of This World”, in The New York Times Style Magazine[1]:
For her part, [Claire] Boucher describes her bewildering, genre-defying soundscapes and high-pitched falsetto as “post-Internet”. What, exactly, does this mean?]
2012, Marin Marinov, Svetla Marinova, Emerging Economies and Firms in the Global Crisis, Springer, →ISBN:
Indeed, the strategic internet orientation profile of the manager becomes a determinant of internationalization and as noticed in the literature review, post-internet internationalization has been referred to as 'internetalization' as opposed to […]
2012, Kal Raustiala, Christopher Sprigman, The Knockoff Economy: How Imitation Sparks Innovation, Oxford University Press, →ISBN:
The importance of touring to the industry's post-Internet fate is illustrated by a recent comment David Bowie made in an interview with the New York Times: “Music itself is going to be like running water or electricity. […]”
2014 September 26, Scott Reyburn, quoting Anita Zabludowicz, “Post-Internet Art Waits Its Turn”, in The New York Times[2], →ISSN:
“Ryan [Trecartin] is a post-Internet artist who’s looking at the virtual world and how it affects us in real life,” said Ms. Zabludowicz.
2015 July 22, Jordan Riefe, “From the browser to the gallery: Petra Cortright's 'post-internet' art”, in The Guardian[3], retrieved 2021-04-28:
Their works are meant to be consumed on the internet, but because [Petra] Cortright’s new works also function in more conventional surroundings – like a gallery – she is considered a post-internet artist.
