UBC Wiki - User contributions [en]

Caitlin Fisher

2014-11-13T05:34:57Z

NicholasLoewen: Added Projects.

Caitlin Fisher "holds a Canada Research Chair in Digital Culture in the Department of Film at York University."<ref name="bio">Catlin Fisher, [http://www.yorku.ca/caitlin/home/about.html Biography], accessed 2014-11-09.</ref> She co-founded York's Future Cinema Lab, and is engaged in research investigating "the future of narrative through explorations of interactive storytelling and interactive cinema in Augmented Reality environments."<ref name="bio" /> Fisher's hypermedia novella, ''[[These Waves of Girls]]'', won the Electronic Literature Organization's 2001 Award for Fiction.<ref name="bio" /> Fisher "completed York's first hypertextual dissertation in 2000."<ref name="bio" />

== Projects ==

Fisher is interested in the way in which "digital technology is transforming the way Canadians relate to language in all its aspects."<ref name="research">Caitlin Fisher, [http://www.yorku.ca/caitlin/home/index.html "Research"], accessed 12 November 2014.</ref> In her projects, as well as in her research, she is currently interested in "investigating the future of narrative, interactive storytelling, and interactive cinema in the emerging area of virtual reality research as represented by Augmented Reality (AR) environments."<ref name="research" />

* [https://www.youtube.com/watch?v=hQE-4L6z6hs ''Wallace Edwards Illustrations - Immersive Worlds''], "investiagtions into immersive, creative storyworlds," 2013<ref name="projects" />
* [http://www.futurestories.ca/tubman/ ''Breaking the Chains''],
* [http://www.yorku.ca/caitlin/futurestories/requiem/ ''Requiuem''], an augmented reality poem created in collaboration with Charles Fisher, "part of a larger, much more fragmented work by Caitlin Fisher, "Cardamom of the Dead: a novel in fragments built using tabletop augmented reality storytelling machines"<ref name="requiuem">Charles Fisher and Caitlin Fisher, [http://www.yorku.ca/caitlin/futurestories/requiem/ ''Requiem''], accessed 12 November 2014.</ref>, 2012<ref name="projects" />
* [https://vimeo.com/64504258 ''Circle''], 2010<ref name="projects">Caitlin Fisher, [http://www.yorku.ca/caitlin/home/projects.html "Projects"], accessed 12 November 2014.</ref>

== References ==

{{reflist}}

These Waves of Girls

2014-11-12T06:49:09Z

NicholasLoewen: added infobox

''These Waves of Girls'' is a hypermedia novella by [[Caitlin Fisher]]. The novella is "composed as a series of small stories, artifacts, interconnections and meditations from the point of view of a four year old, a ten-year old, a twenty year old" and explores "memory, girlhoods, cruelty, childhood play and sexuality."<ref name="award">Electronic Literature Organization, [http://www.eliterature.org/Awards2001/fiction-FisherCaitlin.php "2001 Fiction Award Winner!"], accessed 9 Noveber 2014.</ref> ''These Waves of Girls'' was awarded the Electronic Literature Organization's Fiction Award for 2001.<ref name="award" />

{{Infobox artwork
|title = These Waves of Girls
|artist = Caitlin Fisher
|image = These waves of girls-intro.png
|caption =
|medium = hypertext fiction
|date = 2001
|url = http://www.yorku.ca/caitlin/waves/
}}

== Description ==

=== Text ===

Through fragments of memory, the first-person narrative of ''These Waves of Girls'' tells the story of the childhood and youth of a woman named Tracey. It is highly personal and told in vivid detail. The exploration of "cruelty" can be incredibly graphic:

<blockquote>"We find this boy. Pursue. Slowly, in unison, not speaking, we circle and stop him. And make him take down his pants, because he doesn't want to. And we pull away his bicycle and this sandpit is huge and there are no adults anywhere in the world and one girl kicks sand. And then we are all kicking, kicking wild like every time you've been told not to kick sand has been stored up tight in our bodies waiting for this frenzy and, yes, the sand does get in our eyes and I can't even remember seeing us doing it just breathing and tearing. As the sand clears, he's crumbling and sobbing and we seem so much bigger than he is, there, like a shell-less thing, his penis coated with gravel. And he wasn't supposed to be that small."<ref name="vanessa">Fisher, [http://www.yorku.ca/caitlin/waves/vanessa.htm "Vanessa."]</ref></blockquote>

The theme of exploring "sexuality" is pervasive throughout the text. Sometimes it is a subtle undercurrent, but often it is described in intense and intimate detail:

<blockquote>"Her fingers inside me feel like spiders, she rides my body and there is no weight, only breeze; I roll over and over her screaming that I want her and she snaps like twigs and her body is a bonfire and I am coming because she burns as hot as a match, even if she only weighs 90 pounds, even if she'll never lick chocolate from my thighs, even if I know she only fucked me 'cause it was way too cold outside, even if she thinks that if I see her she's way too big; even if she's already at the mirror."<ref name="watching">Fisher, [http://www.yorku.ca/caitlin/waves/watching.htm "Watching."]</ref></blockquote>

Because of it's nonlinear nature, the story is impossible to synopsize without simply listing it's major themes. This means that even after spending some time with the text, it is difficult to understand the work as a whole (Zach Tomaszewski writes that "hypertexts are the most ergodic of literary texts."<ref name="Tomaszewski-intro">Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/introduction.html "Introduction."]</ref>). This contributes to its pull on the reader, however. The combination of confronting the text ''in media res'', the voyeuristic reading experience, and the challenge which it presents to the reader, are the key devices which attract and sustain the reader's interest.

=== Architecture ===

''These Waves of Girls'' "is organized into a number of story threads," and these "threads are grouped into eight subsites."<ref name=Tomaszewski-imageability">Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/imageability.html "Imageability."]</ref> The text begins with a main menu, which links to the subsites: "kissing girls," "school tales," "I want her," "city," "country," "she was warned," "dare," and "her collections."<ref name="menu4">Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html "menu4"], ''These Waves of Girls''.</ref> Each subsite has "an associated navigation frame;" the text of each story thread is shown alongside a menu with links to the other main threads in the subsite. The subsites are not entirely separate stories, but rather collections of threads, each of which frames the story differently.

=== Form ===

The novella is a visual cacophony. It is full of bright colours, and "relies heavily on the combination of text and visuals."<ref name="Koskimaa">Raine Koskimaa, [http://www.dichtung-digital.de/2004/3/Koskimaa/index.htm "These Waves of Memories: A hyperfiction by Caitlin Fisher"], March 2004.</ref> It also features some interactive elements, such as images which react as if stretched or squeezed, when the cursor is moved over them.<ref name="mr_anderson">Fisher, [http://www.yorku.ca/caitlin/waves/mr_anderson.htm "Mr. Anderson."]</ref> Some pages feature sound effects, and narrated versions are available for some pages.<ref name="Koskimaa" />

''These Waves of Girls'' is a distinctly ''Internet'' creation. The context of it's creation — the early-2000s Internet — is clearly visible in its form. It uses HTML frames, Flash, QuickTime, and the <code><marquee></code> tag, all of which are hallmarks of that context, and all of which, like the visual style, now appear dated. Its Internet-based existence is more important, however, for the way in which it influences the text. This goes beyond the effects of hyperlinking within a document. The page layout, which is afforded by the (seemingly) limitless canvas of the browser, shapes the effect of the text; "the lay-out of the novella is based on the tension between the horizontal and vertical dimensions. This tension, the constant shifts between the horizontal and vertical dominating the lay-out, is very effectively played to heighten the central tendencies in the textual content."<ref name="Koskimaa" /> The fact that it is an Internet-based work also affects the reader's experience simply through the reader's perception of the Internet as a medium; "it situates itself in the huge docuverse of the Internet," meaning that the reader confronts it as webpage first, and only secondarily as novella.<ref name="Koskimaa" />

== Critical Response ==

''These Waves of Girls'' has generally been well received. George Dillon praised the work, saying that while "most of the action described is reassuringly ordinary: attending school, riding bicycles, going to camp, hanging out with friends, playing party games," the effect, "filtered through the interface, ... is not boring or mundane but exciting and universal."<ref name="Dillon-13">Dillon, 13.</ref> The work was awarded the Electronic Literature Organization's Fiction Prize for 2001.<ref name="award"/> This was the "first recipient of a prize that [was] set up to become an annual event," and, "(at least in the eyes of the ELO representatives)," "the highpoint of over 15 years of digital fiction."<ref name="Rau-1" />

Nevertheless, "there has been some critique towards These Waves."<ref name="Koskimaa"/> Anja Rau's criticism is especially severe. She claims that the work is not as innovative as others have claimed,<ref name="Koskimaa" /> that it "does not meet the technological standards of current internet or CD-ROM productions,"<ref name="Rau-1">Rau, 1.</ref>, covers "an outdated topic," and "completely ignores its predecessors in both print and the digital medium."<ref name="Rau-2">Rau, 2.</ref> ''These Waves of Girls'' has received more reserved criticisms as well; as Paola Trimarco recounts, "Landow (2006) refers to ''These Waves of Girls'' as a 'link intensive hyperfiction' (p. 200), which at the same time has a 'limited hypertextuality' because it has 'an organisational superstructure, a top-level branching structure that leads to multiple relatively isolated linear narratives' (p. 265). Similarly, [http://www.dichtung-digital.org/2009/Pope/index.htm Pope (2009)] describes the reading experience as suffering from having too many explicit links to choose from 'and the perception in my reader-participants that there was no story at all.'<ref name="Trimarco-510" /> Trimarco concludes that "while the 'intensive' hyperlinking might not suit some readers, this award-winning hypertext is highly regarded for its innovative use of images and sounds alongside written text."<ref name="Trimarco-510">Trimarco, 510.</ref>

== External Links ==

* [http://www.yorku.ca/caitlin/waves/ ''These Waves of Girls'']

== Notes ==

{{reflist}}

== References ==

* George Dillon in [http://books.google.ca/books?id=rFbaxtlxs04C&printsec=frontcover "Anti-Laokoön: Mixed and Merged Modes of Imagetext on the Web"], ''The Writer's Craft, the Culture's Technology'', edited by Carmen Rosa Caldas-Coulthard and Michael J. Toolan, 2005.
* Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html ''These Waves of Girls''], 2001.
* Anja Rau, [http://www.anjarau.de/wp-content/downloads/dd_ar_fisher_waves_en.pdf "A brief beta-test of this year's winner of the ELO Awards, Caitlin Fisher's ''These Waves of Girls''"], 31 October 2001.
* Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/index.html "Navigating a Hypertext :: ''These Waves of Girls''], 22 March 2006.
* Paulo Trimarco in [http://books.google.ca/books?id=66rmAgAAQBAJ&printsec=frontcover "Stylistics and Hypertext Fiction"], ''The Routledge Handbook of Stylistics'', edited by Michael Burke, 2014.

File:These waves of girls-intro.png

2014-11-12T06:47:27Z

NicholasLoewen:

=={{int:filedesc}}==
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|date=2014-11-11
|source="These Waves of Girls"
|author=Caitlin Fisher
|permission=
|other_versions=
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=={{int:license-header}}==
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These Waves of Girls

2014-11-12T06:44:46Z

NicholasLoewen: citation changes

''These Waves of Girls'' is a hypermedia novella by [[Caitlin Fisher]]. The novella is "composed as a series of small stories, artifacts, interconnections and meditations from the point of view of a four year old, a ten-year old, a twenty year old" and explores "memory, girlhoods, cruelty, childhood play and sexuality."<ref name="award">Electronic Literature Organization, [http://www.eliterature.org/Awards2001/fiction-FisherCaitlin.php "2001 Fiction Award Winner!"], accessed 9 Noveber 2014.</ref> ''These Waves of Girls'' was awarded the Electronic Literature Organization's Fiction Award for 2001.<ref name="award" />

== Description ==

=== Text ===

Through fragments of memory, the first-person narrative of ''These Waves of Girls'' tells the story of the childhood and youth of a woman named Tracey. It is highly personal and told in vivid detail. The exploration of "cruelty" can be incredibly graphic:

<blockquote>"We find this boy. Pursue. Slowly, in unison, not speaking, we circle and stop him. And make him take down his pants, because he doesn't want to. And we pull away his bicycle and this sandpit is huge and there are no adults anywhere in the world and one girl kicks sand. And then we are all kicking, kicking wild like every time you've been told not to kick sand has been stored up tight in our bodies waiting for this frenzy and, yes, the sand does get in our eyes and I can't even remember seeing us doing it just breathing and tearing. As the sand clears, he's crumbling and sobbing and we seem so much bigger than he is, there, like a shell-less thing, his penis coated with gravel. And he wasn't supposed to be that small."<ref name="vanessa">Fisher, [http://www.yorku.ca/caitlin/waves/vanessa.htm "Vanessa."]</ref></blockquote>

The theme of exploring "sexuality" is pervasive throughout the text. Sometimes it is a subtle undercurrent, but often it is described in intense and intimate detail:

<blockquote>"Her fingers inside me feel like spiders, she rides my body and there is no weight, only breeze; I roll over and over her screaming that I want her and she snaps like twigs and her body is a bonfire and I am coming because she burns as hot as a match, even if she only weighs 90 pounds, even if she'll never lick chocolate from my thighs, even if I know she only fucked me 'cause it was way too cold outside, even if she thinks that if I see her she's way too big; even if she's already at the mirror."<ref name="watching">Fisher, [http://www.yorku.ca/caitlin/waves/watching.htm "Watching."]</ref></blockquote>

Because of it's nonlinear nature, the story is impossible to synopsize without simply listing it's major themes. This means that even after spending some time with the text, it is difficult to understand the work as a whole (Zach Tomaszewski writes that "hypertexts are the most ergodic of literary texts."<ref name="Tomaszewski-intro">Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/introduction.html "Introduction."]</ref>). This contributes to its pull on the reader, however. The combination of confronting the text ''in media res'', the voyeuristic reading experience, and the challenge which it presents to the reader, are the key devices which attract and sustain the reader's interest.

=== Architecture ===

''These Waves of Girls'' "is organized into a number of story threads," and these "threads are grouped into eight subsites."<ref name=Tomaszewski-imageability">Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/imageability.html "Imageability."]</ref> The text begins with a main menu, which links to the subsites: "kissing girls," "school tales," "I want her," "city," "country," "she was warned," "dare," and "her collections."<ref name="menu4">Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html "menu4"], ''These Waves of Girls''.</ref> Each subsite has "an associated navigation frame;" the text of each story thread is shown alongside a menu with links to the other main threads in the subsite. The subsites are not entirely separate stories, but rather collections of threads, each of which frames the story differently.

=== Form ===

The novella is a visual cacophony. It is full of bright colours, and "relies heavily on the combination of text and visuals."<ref name="Koskimaa">Raine Koskimaa, [http://www.dichtung-digital.de/2004/3/Koskimaa/index.htm "These Waves of Memories: A hyperfiction by Caitlin Fisher"], March 2004.</ref> It also features some interactive elements, such as images which react as if stretched or squeezed, when the cursor is moved over them.<ref name="mr_anderson">Fisher, [http://www.yorku.ca/caitlin/waves/mr_anderson.htm "Mr. Anderson."]</ref> Some pages feature sound effects, and narrated versions are available for some pages.<ref name="Koskimaa" />

''These Waves of Girls'' is a distinctly ''Internet'' creation. The context of it's creation — the early-2000s Internet — is clearly visible in its form. It uses HTML frames, Flash, QuickTime, and the <code><marquee></code> tag, all of which are hallmarks of that context, and all of which, like the visual style, now appear dated. Its Internet-based existence is more important, however, for the way in which it influences the text. This goes beyond the effects of hyperlinking within a document. The page layout, which is afforded by the (seemingly) limitless canvas of the browser, shapes the effect of the text; "the lay-out of the novella is based on the tension between the horizontal and vertical dimensions. This tension, the constant shifts between the horizontal and vertical dominating the lay-out, is very effectively played to heighten the central tendencies in the textual content."<ref name="Koskimaa" /> The fact that it is an Internet-based work also affects the reader's experience simply through the reader's perception of the Internet as a medium; "it situates itself in the huge docuverse of the Internet," meaning that the reader confronts it as webpage first, and only secondarily as novella.<ref name="Koskimaa" />

== Critical Response ==

''These Waves of Girls'' has generally been well received. George Dillon praised the work, saying that while "most of the action described is reassuringly ordinary: attending school, riding bicycles, going to camp, hanging out with friends, playing party games," the effect, "filtered through the interface, ... is not boring or mundane but exciting and universal."<ref name="Dillon-13">Dillon, 13.</ref> The work was awarded the Electronic Literature Organization's Fiction Prize for 2001.<ref name="award"/> This was the "first recipient of a prize that [was] set up to become an annual event," and, "(at least in the eyes of the ELO representatives)," "the highpoint of over 15 years of digital fiction."<ref name="Rau-1" />

Nevertheless, "there has been some critique towards These Waves."<ref name="Koskimaa"/> Anja Rau's criticism is especially severe. She claims that the work is not as innovative as others have claimed,<ref name="Koskimaa" /> that it "does not meet the technological standards of current internet or CD-ROM productions,"<ref name="Rau-1">Rau, 1.</ref>, covers "an outdated topic," and "completely ignores its predecessors in both print and the digital medium."<ref name="Rau-2">Rau, 2.</ref> ''These Waves of Girls'' has received more reserved criticisms as well; as Paola Trimarco recounts, "Landow (2006) refers to ''These Waves of Girls'' as a 'link intensive hyperfiction' (p. 200), which at the same time has a 'limited hypertextuality' because it has 'an organisational superstructure, a top-level branching structure that leads to multiple relatively isolated linear narratives' (p. 265). Similarly, [http://www.dichtung-digital.org/2009/Pope/index.htm Pope (2009)] describes the reading experience as suffering from having too many explicit links to choose from 'and the perception in my reader-participants that there was no story at all.'<ref name="Trimarco-510" /> Trimarco concludes that "while the 'intensive' hyperlinking might not suit some readers, this award-winning hypertext is highly regarded for its innovative use of images and sounds alongside written text."<ref name="Trimarco-510">Trimarco, 510.</ref>

== External Links ==

* [http://www.yorku.ca/caitlin/waves/ ''These Waves of Girls'']

== Notes ==

{{reflist}}

== References ==

* George Dillon in [http://books.google.ca/books?id=rFbaxtlxs04C&printsec=frontcover "Anti-Laokoön: Mixed and Merged Modes of Imagetext on the Web"], ''The Writer's Craft, the Culture's Technology'', edited by Carmen Rosa Caldas-Coulthard and Michael J. Toolan, 2005.
* Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html ''These Waves of Girls''], 2001.
* Anja Rau, [http://www.anjarau.de/wp-content/downloads/dd_ar_fisher_waves_en.pdf "A brief beta-test of this year's winner of the ELO Awards, Caitlin Fisher's ''These Waves of Girls''"], 31 October 2001.
* Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/index.html "Navigating a Hypertext :: ''These Waves of Girls''], 22 March 2006.
* Paulo Trimarco in [http://books.google.ca/books?id=66rmAgAAQBAJ&printsec=frontcover "Stylistics and Hypertext Fiction"], ''The Routledge Handbook of Stylistics'', edited by Michael Burke, 2014.

These Waves of Girls

2014-11-12T06:40:33Z

NicholasLoewen: /* References */

''These Waves of Girls'' is a hypermedia novella by [[Caitlin Fisher]]. The novella is "composed as a series of small stories, artifacts, interconnections and meditations from the point of view of a four year old, a ten-year old, a twenty year old" and explores "memory, girlhoods, cruelty, childhood play and sexuality."<ref name="award">Electronic Literature Organization, [http://www.eliterature.org/Awards2001/fiction-FisherCaitlin.php "2001 Fiction Award Winner!"], accessed 9 Noveber 2014.</ref> ''These Waves of Girls'' was awarded the Electronic Literature Organization's Fiction Award for 2001.<ref name="award" />

== Description ==

=== Text ===

Through fragments of memory, the first-person narrative of ''These Waves of Girls'' tells the story of the childhood and youth of a woman named Tracey. It is highly personal and told in vivid detail. The exploration of "cruelty" can be incredibly graphic:

<blockquote>"We find this boy. Pursue. Slowly, in unison, not speaking, we circle and stop him. And make him take down his pants, because he doesn't want to. And we pull away his bicycle and this sandpit is huge and there are no adults anywhere in the world and one girl kicks sand. And then we are all kicking, kicking wild like every time you've been told not to kick sand has been stored up tight in our bodies waiting for this frenzy and, yes, the sand does get in our eyes and I can't even remember seeing us doing it just breathing and tearing. As the sand clears, he's crumbling and sobbing and we seem so much bigger than he is, there, like a shell-less thing, his penis coated with gravel. And he wasn't supposed to be that small."<ref name="vanessa">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/vanessa.htm "Vanessa"], ''These Waves of Girls''.</ref></blockquote>

The theme of exploring "sexuality" is pervasive throughout the text. Sometimes it is a subtle undercurrent, but often it is described in intense and intimate detail:

<blockquote>"Her fingers inside me feel like spiders, she rides my body and there is no weight, only breeze; I roll over and over her screaming that I want her and she snaps like twigs and her body is a bonfire and I am coming because she burns as hot as a match, even if she only weighs 90 pounds, even if she'll never lick chocolate from my thighs, even if I know she only fucked me 'cause it was way too cold outside, even if she thinks that if I see her she's way too big; even if she's already at the mirror."<ref name="watching">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/watching.htm "Watching"], ''These Waves of Girls''.</ref></blockquote>

Because of it's nonlinear nature, the story is impossible to synopsize without simply listing it's major themes. This means that even after spending some time with the text, it is difficult to understand the work as a whole (Zach Tomaszewski writes that "hypertexts are the most ergodic of literary texts."<ref name="Tomaszewski-intro">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/introduction.html "Introduction," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref>). This contributes to its pull on the reader, however. The combination of confronting the text ''in media res'', the voyeuristic reading experience, and the challenge which it presents to the reader, are the key devices which attract and sustain the reader's interest.

=== Architecture ===

''These Waves of Girls'' "is organized into a number of story threads," and these "threads are grouped into eight subsites."<ref name=Tomaszewski-imageability">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/imageability.html "Imageability," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref> The text begins with a main menu, which links to the subsites: "kissing girls," "school tales," "I want her," "city," "country," "she was warned," "dare," and "her collections."<ref name="menu4">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html "menu4"], ''These Waves of Girls''.</ref> Each subsite has "an associated navigation frame;" the text of each story thread is shown alongside a menu with links to the other main threads in the subsite. The subsites are not entirely separate stories, but rather collections of threads, each of which frames the story differently.

=== Form ===

The novella is a visual cacophony. It is full of bright colours, and "relies heavily on the combination of text and visuals."<ref name="Koskimaa">Raine Koskimaa, [http://www.dichtung-digital.de/2004/3/Koskimaa/index.htm "These Waves of Memories: A hyperfiction by Caitlin Fisher"], March 2004.</ref> It also features some interactive elements, such as images which react as if stretched or squeezed, when the cursor is moved over them.<ref name="mr_anderson">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/mr_anderson.htm "Mr. Anderson"], ''These Waves of Girls''.</ref> Some pages feature sound effects, and narrated versions are available for some pages.<ref name="Koskimaa" />

''These Waves of Girls'' is a distinctly ''Internet'' creation. The context of it's creation — the early-2000s Internet — is clearly visible in its form. It uses HTML frames, Flash, QuickTime, and the <code><marquee></code> tag, all of which are hallmarks of that context, and all of which, like the visual style, now appear dated. Its Internet-based existence is more important, however, for the way in which it influences the text. This goes beyond the effects of hyperlinking within a document. The page layout, which is afforded by the (seemingly) limitless canvas of the browser, shapes the effect of the text; "the lay-out of the novella is based on the tension between the horizontal and vertical dimensions. This tension, the constant shifts between the horizontal and vertical dominating the lay-out, is very effectively played to heighten the central tendencies in the textual content."<ref name="Koskimaa" /> The fact that it is an Internet-based work also affects the reader's experience simply through the reader's perception of the Internet as a medium; "it situates itself in the huge docuverse of the Internet," meaning that the reader confronts it as webpage first, and only secondarily as novella.<ref name="Koskimaa" />

== Critical Response ==

''These Waves of Girls'' has generally been well received. George Dillon praised the work, saying that while "most of the action described is reassuringly ordinary: attending school, riding bicycles, going to camp, hanging out with friends, playing party games," the effect, "filtered through the interface, ... is not boring or mundane but exciting and universal."<ref name="Dillon-13">Dillon, 13.</ref> The work was awarded the Electronic Literature Organization's Fiction Prize for 2001.<ref name="award"/> This was the "first recipient of a prize that [was] set up to become an annual event," and, "(at least in the eyes of the ELO representatives)," "the highpoint of over 15 years of digital fiction."<ref name="Rau-1" />

Nevertheless, "there has been some critique towards These Waves."<ref name="Koskimaa"/> Anja Rau's criticism is especially severe. She claims that the work is not as innovative as others have claimed,<ref name="Koskimaa" /> that it "does not meet the technological standards of current internet or CD-ROM productions,"<ref name="Rau-1">Rau, 1.</ref>, covers "an outdated topic," and "completely ignores its predecessors in both print and the digital medium."<ref name="Rau-2">Rau, 2.</ref> ''These Waves of Girls'' has received more reserved criticisms as well; as Paola Trimarco recounts, "Landow (2006) refers to ''These Waves of Girls'' as a 'link intensive hyperfiction' (p. 200), which at the same time has a 'limited hypertextuality' because it has 'an organisational superstructure, a top-level branching structure that leads to multiple relatively isolated linear narratives' (p. 265). Similarly, [http://www.dichtung-digital.org/2009/Pope/index.htm Pope (2009)] describes the reading experience as suffering from having too many explicit links to choose from 'and the perception in my reader-participants that there was no story at all.'<ref name="Trimarco-510" /> Trimarco concludes that "while the 'intensive' hyperlinking might not suit some readers, this award-winning hypertext is highly regarded for its innovative use of images and sounds alongside written text."<ref name="Trimarco-510">Trimarco, 510.</ref>

== External Links ==

* [http://www.yorku.ca/caitlin/waves/ ''These Waves of Girls'']

== Notes ==

{{reflist}}

== References ==

* George Dillon in [http://books.google.ca/books?id=rFbaxtlxs04C&printsec=frontcover "Anti-Laokoön: Mixed and Merged Modes of Imagetext on the Web"], ''The Writer's Craft, the Culture's Technology'', edited by Carmen Rosa Caldas-Coulthard and Michael J. Toolan, 2005.
* Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html ''These Waves of Girls''], 2001.
* Anja Rau, [http://www.anjarau.de/wp-content/downloads/dd_ar_fisher_waves_en.pdf "A brief beta-test of this year's winner of the ELO Awards, Caitlin Fisher's ''These Waves of Girls''"], 31 October 2001.
* Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/index.html "Navigating a Hypertext :: ''These Waves of Girls''], 22 March 2006.
* Paulo Trimarco in [http://books.google.ca/books?id=66rmAgAAQBAJ&printsec=frontcover "Stylistics and Hypertext Fiction"], ''The Routledge Handbook of Stylistics'', edited by Michael Burke, 2014.

These Waves of Girls

2014-11-12T06:37:53Z

NicholasLoewen: /* Critical Response */ Fixed misattribution!

''These Waves of Girls'' is a hypermedia novella by [[Caitlin Fisher]]. The novella is "composed as a series of small stories, artifacts, interconnections and meditations from the point of view of a four year old, a ten-year old, a twenty year old" and explores "memory, girlhoods, cruelty, childhood play and sexuality."<ref name="award">Electronic Literature Organization, [http://www.eliterature.org/Awards2001/fiction-FisherCaitlin.php "2001 Fiction Award Winner!"], accessed 9 Noveber 2014.</ref> ''These Waves of Girls'' was awarded the Electronic Literature Organization's Fiction Award for 2001.<ref name="award" />

== Description ==

=== Text ===

Through fragments of memory, the first-person narrative of ''These Waves of Girls'' tells the story of the childhood and youth of a woman named Tracey. It is highly personal and told in vivid detail. The exploration of "cruelty" can be incredibly graphic:

<blockquote>"We find this boy. Pursue. Slowly, in unison, not speaking, we circle and stop him. And make him take down his pants, because he doesn't want to. And we pull away his bicycle and this sandpit is huge and there are no adults anywhere in the world and one girl kicks sand. And then we are all kicking, kicking wild like every time you've been told not to kick sand has been stored up tight in our bodies waiting for this frenzy and, yes, the sand does get in our eyes and I can't even remember seeing us doing it just breathing and tearing. As the sand clears, he's crumbling and sobbing and we seem so much bigger than he is, there, like a shell-less thing, his penis coated with gravel. And he wasn't supposed to be that small."<ref name="vanessa">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/vanessa.htm "Vanessa"], ''These Waves of Girls''.</ref></blockquote>

The theme of exploring "sexuality" is pervasive throughout the text. Sometimes it is a subtle undercurrent, but often it is described in intense and intimate detail:

<blockquote>"Her fingers inside me feel like spiders, she rides my body and there is no weight, only breeze; I roll over and over her screaming that I want her and she snaps like twigs and her body is a bonfire and I am coming because she burns as hot as a match, even if she only weighs 90 pounds, even if she'll never lick chocolate from my thighs, even if I know she only fucked me 'cause it was way too cold outside, even if she thinks that if I see her she's way too big; even if she's already at the mirror."<ref name="watching">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/watching.htm "Watching"], ''These Waves of Girls''.</ref></blockquote>

Because of it's nonlinear nature, the story is impossible to synopsize without simply listing it's major themes. This means that even after spending some time with the text, it is difficult to understand the work as a whole (Zach Tomaszewski writes that "hypertexts are the most ergodic of literary texts."<ref name="Tomaszewski-intro">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/introduction.html "Introduction," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref>). This contributes to its pull on the reader, however. The combination of confronting the text ''in media res'', the voyeuristic reading experience, and the challenge which it presents to the reader, are the key devices which attract and sustain the reader's interest.

=== Architecture ===

''These Waves of Girls'' "is organized into a number of story threads," and these "threads are grouped into eight subsites."<ref name=Tomaszewski-imageability">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/imageability.html "Imageability," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref> The text begins with a main menu, which links to the subsites: "kissing girls," "school tales," "I want her," "city," "country," "she was warned," "dare," and "her collections."<ref name="menu4">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html "menu4"], ''These Waves of Girls''.</ref> Each subsite has "an associated navigation frame;" the text of each story thread is shown alongside a menu with links to the other main threads in the subsite. The subsites are not entirely separate stories, but rather collections of threads, each of which frames the story differently.

=== Form ===

The novella is a visual cacophony. It is full of bright colours, and "relies heavily on the combination of text and visuals."<ref name="Koskimaa">Raine Koskimaa, [http://www.dichtung-digital.de/2004/3/Koskimaa/index.htm "These Waves of Memories: A hyperfiction by Caitlin Fisher"], March 2004.</ref> It also features some interactive elements, such as images which react as if stretched or squeezed, when the cursor is moved over them.<ref name="mr_anderson">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/mr_anderson.htm "Mr. Anderson"], ''These Waves of Girls''.</ref> Some pages feature sound effects, and narrated versions are available for some pages.<ref name="Koskimaa" />

''These Waves of Girls'' is a distinctly ''Internet'' creation. The context of it's creation — the early-2000s Internet — is clearly visible in its form. It uses HTML frames, Flash, QuickTime, and the <code><marquee></code> tag, all of which are hallmarks of that context, and all of which, like the visual style, now appear dated. Its Internet-based existence is more important, however, for the way in which it influences the text. This goes beyond the effects of hyperlinking within a document. The page layout, which is afforded by the (seemingly) limitless canvas of the browser, shapes the effect of the text; "the lay-out of the novella is based on the tension between the horizontal and vertical dimensions. This tension, the constant shifts between the horizontal and vertical dominating the lay-out, is very effectively played to heighten the central tendencies in the textual content."<ref name="Koskimaa" /> The fact that it is an Internet-based work also affects the reader's experience simply through the reader's perception of the Internet as a medium; "it situates itself in the huge docuverse of the Internet," meaning that the reader confronts it as webpage first, and only secondarily as novella.<ref name="Koskimaa" />

== Critical Response ==

''These Waves of Girls'' has generally been well received. George Dillon praised the work, saying that while "most of the action described is reassuringly ordinary: attending school, riding bicycles, going to camp, hanging out with friends, playing party games," the effect, "filtered through the interface, ... is not boring or mundane but exciting and universal."<ref name="Dillon-13">Dillon, 13.</ref> The work was awarded the Electronic Literature Organization's Fiction Prize for 2001.<ref name="award"/> This was the "first recipient of a prize that [was] set up to become an annual event," and, "(at least in the eyes of the ELO representatives)," "the highpoint of over 15 years of digital fiction."<ref name="Rau-1" />

Nevertheless, "there has been some critique towards These Waves."<ref name="Koskimaa"/> Anja Rau's criticism is especially severe. She claims that the work is not as innovative as others have claimed,<ref name="Koskimaa" /> that it "does not meet the technological standards of current internet or CD-ROM productions,"<ref name="Rau-1">Rau, 1.</ref>, covers "an outdated topic," and "completely ignores its predecessors in both print and the digital medium."<ref name="Rau-2">Rau, 2.</ref> ''These Waves of Girls'' has received more reserved criticisms as well; as Paola Trimarco recounts, "Landow (2006) refers to ''These Waves of Girls'' as a 'link intensive hyperfiction' (p. 200), which at the same time has a 'limited hypertextuality' because it has 'an organisational superstructure, a top-level branching structure that leads to multiple relatively isolated linear narratives' (p. 265). Similarly, [http://www.dichtung-digital.org/2009/Pope/index.htm Pope (2009)] describes the reading experience as suffering from having too many explicit links to choose from 'and the perception in my reader-participants that there was no story at all.'<ref name="Trimarco-510" /> Trimarco concludes that "while the 'intensive' hyperlinking might not suit some readers, this award-winning hypertext is highly regarded for its innovative use of images and sounds alongside written text."<ref name="Trimarco-510">Trimarco, 510.</ref>

== External Links ==

* [http://www.yorku.ca/caitlin/waves/ ''These Waves of Girls'']

== Notes ==

{{reflist}}

== References ==

* Paulo Trimarco in [books.google.ca/books?id=66rmAgAAQBAJ&printsec=frontcover "Stylistics and Hypertext Fiction"], ''The Routledge Handbook of Stylistics'', edited by Michael Burke, 2014.
* George Dillon in [books.google.ca/books?id=rFbaxtlxs04C&printsec=frontcover "Anti-Laokoön: Mixed and Merged Modes of Imagetext on the Web"], ''The Writer's Craft, the Culture's Technology'', edited by Carmen Rosa Caldas-Coulthard and Michael J. Toolan, 2005.
* Anja Rau, [http://www.anjarau.de/wp-content/downloads/dd_ar_fisher_waves_en.pdf "A brief beta-test of this year's winner of the ELO Awards, Caitlin Fisher's ''These Waves of Girls''"], 31 October 2001.

These Waves of Girls

2014-11-12T06:35:35Z

NicholasLoewen: /* References */

''These Waves of Girls'' is a hypermedia novella by [[Caitlin Fisher]]. The novella is "composed as a series of small stories, artifacts, interconnections and meditations from the point of view of a four year old, a ten-year old, a twenty year old" and explores "memory, girlhoods, cruelty, childhood play and sexuality."<ref name="award">Electronic Literature Organization, [http://www.eliterature.org/Awards2001/fiction-FisherCaitlin.php "2001 Fiction Award Winner!"], accessed 9 Noveber 2014.</ref> ''These Waves of Girls'' was awarded the Electronic Literature Organization's Fiction Award for 2001.<ref name="award" />

== Description ==

=== Text ===

Through fragments of memory, the first-person narrative of ''These Waves of Girls'' tells the story of the childhood and youth of a woman named Tracey. It is highly personal and told in vivid detail. The exploration of "cruelty" can be incredibly graphic:

<blockquote>"We find this boy. Pursue. Slowly, in unison, not speaking, we circle and stop him. And make him take down his pants, because he doesn't want to. And we pull away his bicycle and this sandpit is huge and there are no adults anywhere in the world and one girl kicks sand. And then we are all kicking, kicking wild like every time you've been told not to kick sand has been stored up tight in our bodies waiting for this frenzy and, yes, the sand does get in our eyes and I can't even remember seeing us doing it just breathing and tearing. As the sand clears, he's crumbling and sobbing and we seem so much bigger than he is, there, like a shell-less thing, his penis coated with gravel. And he wasn't supposed to be that small."<ref name="vanessa">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/vanessa.htm "Vanessa"], ''These Waves of Girls''.</ref></blockquote>

The theme of exploring "sexuality" is pervasive throughout the text. Sometimes it is a subtle undercurrent, but often it is described in intense and intimate detail:

<blockquote>"Her fingers inside me feel like spiders, she rides my body and there is no weight, only breeze; I roll over and over her screaming that I want her and she snaps like twigs and her body is a bonfire and I am coming because she burns as hot as a match, even if she only weighs 90 pounds, even if she'll never lick chocolate from my thighs, even if I know she only fucked me 'cause it was way too cold outside, even if she thinks that if I see her she's way too big; even if she's already at the mirror."<ref name="watching">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/watching.htm "Watching"], ''These Waves of Girls''.</ref></blockquote>

Because of it's nonlinear nature, the story is impossible to synopsize without simply listing it's major themes. This means that even after spending some time with the text, it is difficult to understand the work as a whole (Zach Tomaszewski writes that "hypertexts are the most ergodic of literary texts."<ref name="Tomaszewski-intro">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/introduction.html "Introduction," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref>). This contributes to its pull on the reader, however. The combination of confronting the text ''in media res'', the voyeuristic reading experience, and the challenge which it presents to the reader, are the key devices which attract and sustain the reader's interest.

=== Architecture ===

''These Waves of Girls'' "is organized into a number of story threads," and these "threads are grouped into eight subsites."<ref name=Tomaszewski-imageability">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/imageability.html "Imageability," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref> The text begins with a main menu, which links to the subsites: "kissing girls," "school tales," "I want her," "city," "country," "she was warned," "dare," and "her collections."<ref name="menu4">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html "menu4"], ''These Waves of Girls''.</ref> Each subsite has "an associated navigation frame;" the text of each story thread is shown alongside a menu with links to the other main threads in the subsite. The subsites are not entirely separate stories, but rather collections of threads, each of which frames the story differently.

=== Form ===

The novella is a visual cacophony. It is full of bright colours, and "relies heavily on the combination of text and visuals."<ref name="Koskimaa">Raine Koskimaa, [http://www.dichtung-digital.de/2004/3/Koskimaa/index.htm "These Waves of Memories: A hyperfiction by Caitlin Fisher"], March 2004.</ref> It also features some interactive elements, such as images which react as if stretched or squeezed, when the cursor is moved over them.<ref name="mr_anderson">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/mr_anderson.htm "Mr. Anderson"], ''These Waves of Girls''.</ref> Some pages feature sound effects, and narrated versions are available for some pages.<ref name="Koskimaa" />

''These Waves of Girls'' is a distinctly ''Internet'' creation. The context of it's creation — the early-2000s Internet — is clearly visible in its form. It uses HTML frames, Flash, QuickTime, and the <code><marquee></code> tag, all of which are hallmarks of that context, and all of which, like the visual style, now appear dated. Its Internet-based existence is more important, however, for the way in which it influences the text. This goes beyond the effects of hyperlinking within a document. The page layout, which is afforded by the (seemingly) limitless canvas of the browser, shapes the effect of the text; "the lay-out of the novella is based on the tension between the horizontal and vertical dimensions. This tension, the constant shifts between the horizontal and vertical dominating the lay-out, is very effectively played to heighten the central tendencies in the textual content."<ref name="Koskimaa" /> The fact that it is an Internet-based work also affects the reader's experience simply through the reader's perception of the Internet as a medium; "it situates itself in the huge docuverse of the Internet," meaning that the reader confronts it as webpage first, and only secondarily as novella.<ref name="Koskimaa" />

== Critical Response ==

''These Waves of Girls'' has generally been well received. George Dillon praised the work, saying that while "most of the action described is reassuringly ordinary: attending school, riding bicycles, going to camp, hanging out with friends, playing party games," the effect, "filtered through the interface, ... is not boring or mundane but exciting and universal."<ref name="Dillon-510">Dillon, 510.</ref> The work was awarded the Electronic Literature Organization's Fiction Prize for 2001.<ref name="award"/> This was the "first recipient of a prize that [was] set up to become an annual event," and, "(at least in the eyes of the ELO representatives)," "the highpoint of over 15 years of digital fiction."<ref name="Rau-1" />

Nevertheless, "there has been some critique towards These Waves."<ref name="Koskimaa"/> Anja Rau's criticism is especially severe. She claims that the work is not as innovative as others have claimed,<ref name="Koskimaa" /> that it "does not meet the technological standards of current internet or CD-ROM productions,"<ref name="Rau-1">Rau, 1.</ref>, covers "an outdated topic," and "completely ignores its predecessors in both print and the digital medium."<ref name="Rau-2">Rau, 2.</ref> ''These Waves of Girls'' has received more reserved criticisms as well; as George Dillon recounts, "Landow (2006) refers to ''These Waves of Girls'' as a 'link intensive hyperfiction' (p. 200), which at the same time has a 'limited hypertextuality' because it has 'an organisational superstructure, a top-level branching structure that leads to multiple relatively isolated linear narratives' (p. 265). Similarly, [http://www.dichtung-digital.org/2009/Pope/index.htm Pope (2009)] describes the reading experience as suffering from having too many explicit links to choose from 'and the perception in my reader-participants that there was no story at all.'<ref name="Dillon-510" /> Dillon concludes that "while the 'intensive' hyperlinking might not suit some readers, this award-winning hypertext is highly regarded for its innovative use of images and sounds alongside written text."<ref name="Dillon-510" />

== External Links ==

* [http://www.yorku.ca/caitlin/waves/ ''These Waves of Girls'']

== Notes ==

{{reflist}}

== References ==

* Paulo Trimarco in [books.google.ca/books?id=66rmAgAAQBAJ&printsec=frontcover "Stylistics and Hypertext Fiction"], ''The Routledge Handbook of Stylistics'', edited by Michael Burke, 2014.
* George Dillon in [books.google.ca/books?id=rFbaxtlxs04C&printsec=frontcover "Anti-Laokoön: Mixed and Merged Modes of Imagetext on the Web"], ''The Writer's Craft, the Culture's Technology'', edited by Carmen Rosa Caldas-Coulthard and Michael J. Toolan, 2005.
* Anja Rau, [http://www.anjarau.de/wp-content/downloads/dd_ar_fisher_waves_en.pdf "A brief beta-test of this year's winner of the ELO Awards, Caitlin Fisher's ''These Waves of Girls''"], 31 October 2001.

These Waves of Girls

2014-11-12T06:31:36Z

NicholasLoewen: /* References */

''These Waves of Girls'' is a hypermedia novella by [[Caitlin Fisher]]. The novella is "composed as a series of small stories, artifacts, interconnections and meditations from the point of view of a four year old, a ten-year old, a twenty year old" and explores "memory, girlhoods, cruelty, childhood play and sexuality."<ref name="award">Electronic Literature Organization, [http://www.eliterature.org/Awards2001/fiction-FisherCaitlin.php "2001 Fiction Award Winner!"], accessed 9 Noveber 2014.</ref> ''These Waves of Girls'' was awarded the Electronic Literature Organization's Fiction Award for 2001.<ref name="award" />

== Description ==

=== Text ===

Through fragments of memory, the first-person narrative of ''These Waves of Girls'' tells the story of the childhood and youth of a woman named Tracey. It is highly personal and told in vivid detail. The exploration of "cruelty" can be incredibly graphic:

<blockquote>"We find this boy. Pursue. Slowly, in unison, not speaking, we circle and stop him. And make him take down his pants, because he doesn't want to. And we pull away his bicycle and this sandpit is huge and there are no adults anywhere in the world and one girl kicks sand. And then we are all kicking, kicking wild like every time you've been told not to kick sand has been stored up tight in our bodies waiting for this frenzy and, yes, the sand does get in our eyes and I can't even remember seeing us doing it just breathing and tearing. As the sand clears, he's crumbling and sobbing and we seem so much bigger than he is, there, like a shell-less thing, his penis coated with gravel. And he wasn't supposed to be that small."<ref name="vanessa">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/vanessa.htm "Vanessa"], ''These Waves of Girls''.</ref></blockquote>

The theme of exploring "sexuality" is pervasive throughout the text. Sometimes it is a subtle undercurrent, but often it is described in intense and intimate detail:

<blockquote>"Her fingers inside me feel like spiders, she rides my body and there is no weight, only breeze; I roll over and over her screaming that I want her and she snaps like twigs and her body is a bonfire and I am coming because she burns as hot as a match, even if she only weighs 90 pounds, even if she'll never lick chocolate from my thighs, even if I know she only fucked me 'cause it was way too cold outside, even if she thinks that if I see her she's way too big; even if she's already at the mirror."<ref name="watching">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/watching.htm "Watching"], ''These Waves of Girls''.</ref></blockquote>

Because of it's nonlinear nature, the story is impossible to synopsize without simply listing it's major themes. This means that even after spending some time with the text, it is difficult to understand the work as a whole (Zach Tomaszewski writes that "hypertexts are the most ergodic of literary texts."<ref name="Tomaszewski-intro">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/introduction.html "Introduction," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref>). This contributes to its pull on the reader, however. The combination of confronting the text ''in media res'', the voyeuristic reading experience, and the challenge which it presents to the reader, are the key devices which attract and sustain the reader's interest.

=== Architecture ===

''These Waves of Girls'' "is organized into a number of story threads," and these "threads are grouped into eight subsites."<ref name=Tomaszewski-imageability">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/imageability.html "Imageability," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref> The text begins with a main menu, which links to the subsites: "kissing girls," "school tales," "I want her," "city," "country," "she was warned," "dare," and "her collections."<ref name="menu4">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html "menu4"], ''These Waves of Girls''.</ref> Each subsite has "an associated navigation frame;" the text of each story thread is shown alongside a menu with links to the other main threads in the subsite. The subsites are not entirely separate stories, but rather collections of threads, each of which frames the story differently.

=== Form ===

The novella is a visual cacophony. It is full of bright colours, and "relies heavily on the combination of text and visuals."<ref name="Koskimaa">Raine Koskimaa, [http://www.dichtung-digital.de/2004/3/Koskimaa/index.htm "These Waves of Memories: A hyperfiction by Caitlin Fisher"], March 2004.</ref> It also features some interactive elements, such as images which react as if stretched or squeezed, when the cursor is moved over them.<ref name="mr_anderson">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/mr_anderson.htm "Mr. Anderson"], ''These Waves of Girls''.</ref> Some pages feature sound effects, and narrated versions are available for some pages.<ref name="Koskimaa" />

''These Waves of Girls'' is a distinctly ''Internet'' creation. The context of it's creation — the early-2000s Internet — is clearly visible in its form. It uses HTML frames, Flash, QuickTime, and the <code><marquee></code> tag, all of which are hallmarks of that context, and all of which, like the visual style, now appear dated. Its Internet-based existence is more important, however, for the way in which it influences the text. This goes beyond the effects of hyperlinking within a document. The page layout, which is afforded by the (seemingly) limitless canvas of the browser, shapes the effect of the text; "the lay-out of the novella is based on the tension between the horizontal and vertical dimensions. This tension, the constant shifts between the horizontal and vertical dominating the lay-out, is very effectively played to heighten the central tendencies in the textual content."<ref name="Koskimaa" /> The fact that it is an Internet-based work also affects the reader's experience simply through the reader's perception of the Internet as a medium; "it situates itself in the huge docuverse of the Internet," meaning that the reader confronts it as webpage first, and only secondarily as novella.<ref name="Koskimaa" />

== Critical Response ==

''These Waves of Girls'' has generally been well received. George Dillon praised the work, saying that while "most of the action described is reassuringly ordinary: attending school, riding bicycles, going to camp, hanging out with friends, playing party games," the effect, "filtered through the interface, ... is not boring or mundane but exciting and universal."<ref name="Dillon-510">Dillon, 510.</ref> The work was awarded the Electronic Literature Organization's Fiction Prize for 2001.<ref name="award"/> This was the "first recipient of a prize that [was] set up to become an annual event," and, "(at least in the eyes of the ELO representatives)," "the highpoint of over 15 years of digital fiction."<ref name="Rau-1" />

Nevertheless, "there has been some critique towards These Waves."<ref name="Koskimaa"/> Anja Rau's criticism is especially severe. She claims that the work is not as innovative as others have claimed,<ref name="Koskimaa" /> that it "does not meet the technological standards of current internet or CD-ROM productions,"<ref name="Rau-1">Rau, 1.</ref>, covers "an outdated topic," and "completely ignores its predecessors in both print and the digital medium."<ref name="Rau-2">Rau, 2.</ref> ''These Waves of Girls'' has received more reserved criticisms as well; as George Dillon recounts, "Landow (2006) refers to ''These Waves of Girls'' as a 'link intensive hyperfiction' (p. 200), which at the same time has a 'limited hypertextuality' because it has 'an organisational superstructure, a top-level branching structure that leads to multiple relatively isolated linear narratives' (p. 265). Similarly, [http://www.dichtung-digital.org/2009/Pope/index.htm Pope (2009)] describes the reading experience as suffering from having too many explicit links to choose from 'and the perception in my reader-participants that there was no story at all.'<ref name="Dillon-510" /> Dillon concludes that "while the 'intensive' hyperlinking might not suit some readers, this award-winning hypertext is highly regarded for its innovative use of images and sounds alongside written text."<ref name="Dillon-510" />

== External Links ==

* [http://www.yorku.ca/caitlin/waves/ ''These Waves of Girls'']

== Notes ==

{{reflist}}

== References ==

* George Dillon in ["Anti-Laokoön: Mixed and Merged Modes of Imagetext on the Web"]], ''The Writer's Craft, the Culture's Technology'', edited by Carmen Rosa Caldas-Coulthard and Michael J. Toolan, 2005.
* Anja Rau, [http://www.anjarau.de/wp-content/downloads/dd_ar_fisher_waves_en.pdf "A brief beta-test of this year's winner of the ELO Awards, Caitlin Fisher's ''These Waves of Girls''"], 31 October 2001.

These Waves of Girls

2014-11-12T06:31:08Z

NicholasLoewen: Changed {{reflist}} section to Notes and made a new References section to better handle citing multipage docs.

''These Waves of Girls'' is a hypermedia novella by [[Caitlin Fisher]]. The novella is "composed as a series of small stories, artifacts, interconnections and meditations from the point of view of a four year old, a ten-year old, a twenty year old" and explores "memory, girlhoods, cruelty, childhood play and sexuality."<ref name="award">Electronic Literature Organization, [http://www.eliterature.org/Awards2001/fiction-FisherCaitlin.php "2001 Fiction Award Winner!"], accessed 9 Noveber 2014.</ref> ''These Waves of Girls'' was awarded the Electronic Literature Organization's Fiction Award for 2001.<ref name="award" />

== Description ==

=== Text ===

Through fragments of memory, the first-person narrative of ''These Waves of Girls'' tells the story of the childhood and youth of a woman named Tracey. It is highly personal and told in vivid detail. The exploration of "cruelty" can be incredibly graphic:

<blockquote>"We find this boy. Pursue. Slowly, in unison, not speaking, we circle and stop him. And make him take down his pants, because he doesn't want to. And we pull away his bicycle and this sandpit is huge and there are no adults anywhere in the world and one girl kicks sand. And then we are all kicking, kicking wild like every time you've been told not to kick sand has been stored up tight in our bodies waiting for this frenzy and, yes, the sand does get in our eyes and I can't even remember seeing us doing it just breathing and tearing. As the sand clears, he's crumbling and sobbing and we seem so much bigger than he is, there, like a shell-less thing, his penis coated with gravel. And he wasn't supposed to be that small."<ref name="vanessa">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/vanessa.htm "Vanessa"], ''These Waves of Girls''.</ref></blockquote>

The theme of exploring "sexuality" is pervasive throughout the text. Sometimes it is a subtle undercurrent, but often it is described in intense and intimate detail:

<blockquote>"Her fingers inside me feel like spiders, she rides my body and there is no weight, only breeze; I roll over and over her screaming that I want her and she snaps like twigs and her body is a bonfire and I am coming because she burns as hot as a match, even if she only weighs 90 pounds, even if she'll never lick chocolate from my thighs, even if I know she only fucked me 'cause it was way too cold outside, even if she thinks that if I see her she's way too big; even if she's already at the mirror."<ref name="watching">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/watching.htm "Watching"], ''These Waves of Girls''.</ref></blockquote>

Because of it's nonlinear nature, the story is impossible to synopsize without simply listing it's major themes. This means that even after spending some time with the text, it is difficult to understand the work as a whole (Zach Tomaszewski writes that "hypertexts are the most ergodic of literary texts."<ref name="Tomaszewski-intro">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/introduction.html "Introduction," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref>). This contributes to its pull on the reader, however. The combination of confronting the text ''in media res'', the voyeuristic reading experience, and the challenge which it presents to the reader, are the key devices which attract and sustain the reader's interest.

=== Architecture ===

''These Waves of Girls'' "is organized into a number of story threads," and these "threads are grouped into eight subsites."<ref name=Tomaszewski-imageability">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/imageability.html "Imageability," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref> The text begins with a main menu, which links to the subsites: "kissing girls," "school tales," "I want her," "city," "country," "she was warned," "dare," and "her collections."<ref name="menu4">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html "menu4"], ''These Waves of Girls''.</ref> Each subsite has "an associated navigation frame;" the text of each story thread is shown alongside a menu with links to the other main threads in the subsite. The subsites are not entirely separate stories, but rather collections of threads, each of which frames the story differently.

=== Form ===

The novella is a visual cacophony. It is full of bright colours, and "relies heavily on the combination of text and visuals."<ref name="Koskimaa">Raine Koskimaa, [http://www.dichtung-digital.de/2004/3/Koskimaa/index.htm "These Waves of Memories: A hyperfiction by Caitlin Fisher"], March 2004.</ref> It also features some interactive elements, such as images which react as if stretched or squeezed, when the cursor is moved over them.<ref name="mr_anderson">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/mr_anderson.htm "Mr. Anderson"], ''These Waves of Girls''.</ref> Some pages feature sound effects, and narrated versions are available for some pages.<ref name="Koskimaa" />

''These Waves of Girls'' is a distinctly ''Internet'' creation. The context of it's creation — the early-2000s Internet — is clearly visible in its form. It uses HTML frames, Flash, QuickTime, and the <code><marquee></code> tag, all of which are hallmarks of that context, and all of which, like the visual style, now appear dated. Its Internet-based existence is more important, however, for the way in which it influences the text. This goes beyond the effects of hyperlinking within a document. The page layout, which is afforded by the (seemingly) limitless canvas of the browser, shapes the effect of the text; "the lay-out of the novella is based on the tension between the horizontal and vertical dimensions. This tension, the constant shifts between the horizontal and vertical dominating the lay-out, is very effectively played to heighten the central tendencies in the textual content."<ref name="Koskimaa" /> The fact that it is an Internet-based work also affects the reader's experience simply through the reader's perception of the Internet as a medium; "it situates itself in the huge docuverse of the Internet," meaning that the reader confronts it as webpage first, and only secondarily as novella.<ref name="Koskimaa" />

== Critical Response ==

''These Waves of Girls'' has generally been well received. George Dillon praised the work, saying that while "most of the action described is reassuringly ordinary: attending school, riding bicycles, going to camp, hanging out with friends, playing party games," the effect, "filtered through the interface, ... is not boring or mundane but exciting and universal."<ref name="Dillon-510">Dillon, 510.</ref> The work was awarded the Electronic Literature Organization's Fiction Prize for 2001.<ref name="award"/> This was the "first recipient of a prize that [was] set up to become an annual event," and, "(at least in the eyes of the ELO representatives)," "the highpoint of over 15 years of digital fiction."<ref name="Rau-1" />

Nevertheless, "there has been some critique towards These Waves."<ref name="Koskimaa"/> Anja Rau's criticism is especially severe. She claims that the work is not as innovative as others have claimed,<ref name="Koskimaa" /> that it "does not meet the technological standards of current internet or CD-ROM productions,"<ref name="Rau-1">Rau, 1.</ref>, covers "an outdated topic," and "completely ignores its predecessors in both print and the digital medium."<ref name="Rau-2">Rau, 2.</ref> ''These Waves of Girls'' has received more reserved criticisms as well; as George Dillon recounts, "Landow (2006) refers to ''These Waves of Girls'' as a 'link intensive hyperfiction' (p. 200), which at the same time has a 'limited hypertextuality' because it has 'an organisational superstructure, a top-level branching structure that leads to multiple relatively isolated linear narratives' (p. 265). Similarly, [http://www.dichtung-digital.org/2009/Pope/index.htm Pope (2009)] describes the reading experience as suffering from having too many explicit links to choose from 'and the perception in my reader-participants that there was no story at all.'<ref name="Dillon-510" /> Dillon concludes that "while the 'intensive' hyperlinking might not suit some readers, this award-winning hypertext is highly regarded for its innovative use of images and sounds alongside written text."<ref name="Dillon-510" />

== External Links ==

* [http://www.yorku.ca/caitlin/waves/ ''These Waves of Girls'']

== Notes ==

{{reflist}}

== References ==

* George Dillon in ["Anti-Laokoön: Mixed and Merged Modes of Imagetext on the Web"]], ''The Writer's Craft, the Culture's Technology'', edited by Carmen Rosa Caldas-Coulthard and Michael J. Toolan, 2005.
* Anja Rau, [http://www.anjarau.de/wp-content/downloads/dd_ar_fisher_waves_en.pdf "A brief beta-test of this year's winner of the ELO Awards, Caitlin Fisher's ''These Waves of Girls''" [PDF link]], 31 October 2001.

These Waves of Girls

2014-11-12T06:26:49Z

NicholasLoewen: fixed citation error

''These Waves of Girls'' is a hypermedia novella by [[Caitlin Fisher]]. The novella is "composed as a series of small stories, artifacts, interconnections and meditations from the point of view of a four year old, a ten-year old, a twenty year old" and explores "memory, girlhoods, cruelty, childhood play and sexuality."<ref name="award">Electronic Literature Organization, [http://www.eliterature.org/Awards2001/fiction-FisherCaitlin.php "2001 Fiction Award Winner!"], accessed 9 Noveber 2014.</ref> ''These Waves of Girls'' was awarded the Electronic Literature Organization's Fiction Award for 2001.<ref name="award" />

== Description ==

=== Text ===

Through fragments of memory, the first-person narrative of ''These Waves of Girls'' tells the story of the childhood and youth of a woman named Tracey. It is highly personal and told in vivid detail. The exploration of "cruelty" can be incredibly graphic:

<blockquote>"We find this boy. Pursue. Slowly, in unison, not speaking, we circle and stop him. And make him take down his pants, because he doesn't want to. And we pull away his bicycle and this sandpit is huge and there are no adults anywhere in the world and one girl kicks sand. And then we are all kicking, kicking wild like every time you've been told not to kick sand has been stored up tight in our bodies waiting for this frenzy and, yes, the sand does get in our eyes and I can't even remember seeing us doing it just breathing and tearing. As the sand clears, he's crumbling and sobbing and we seem so much bigger than he is, there, like a shell-less thing, his penis coated with gravel. And he wasn't supposed to be that small."<ref name="vanessa">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/vanessa.htm "Vanessa"], ''These Waves of Girls''.</ref></blockquote>

The theme of exploring "sexuality" is pervasive throughout the text. Sometimes it is a subtle undercurrent, but often it is described in intense and intimate detail:

<blockquote>"Her fingers inside me feel like spiders, she rides my body and there is no weight, only breeze; I roll over and over her screaming that I want her and she snaps like twigs and her body is a bonfire and I am coming because she burns as hot as a match, even if she only weighs 90 pounds, even if she'll never lick chocolate from my thighs, even if I know she only fucked me 'cause it was way too cold outside, even if she thinks that if I see her she's way too big; even if she's already at the mirror."<ref name="watching">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/watching.htm "Watching"], ''These Waves of Girls''.</ref></blockquote>

Because of it's nonlinear nature, the story is impossible to synopsize without simply listing it's major themes. This means that even after spending some time with the text, it is difficult to understand the work as a whole (Zach Tomaszewski writes that "hypertexts are the most ergodic of literary texts."<ref name="Tomaszewski-intro">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/introduction.html "Introduction," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref>). This contributes to its pull on the reader, however. The combination of confronting the text ''in media res'', the voyeuristic reading experience, and the challenge which it presents to the reader, are the key devices which attract and sustain the reader's interest.

=== Architecture ===

''These Waves of Girls'' "is organized into a number of story threads," and these "threads are grouped into eight subsites."<ref name=Tomaszewski-imageability">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/imageability.html "Imageability," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref> The text begins with a main menu, which links to the subsites: "kissing girls," "school tales," "I want her," "city," "country," "she was warned," "dare," and "her collections."<ref name="menu4">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html "menu4"], ''These Waves of Girls''.</ref> Each subsite has "an associated navigation frame;" the text of each story thread is shown alongside a menu with links to the other main threads in the subsite. The subsites are not entirely separate stories, but rather collections of threads, each of which frames the story differently.

=== Form ===

The novella is a visual cacophony. It is full of bright colours, and "relies heavily on the combination of text and visuals."<ref name="Koskimaa">Raine Koskimaa, [http://www.dichtung-digital.de/2004/3/Koskimaa/index.htm "These Waves of Memories: A hyperfiction by Caitlin Fisher"], March 2004.</ref> It also features some interactive elements, such as images which react as if stretched or squeezed, when the cursor is moved over them.<ref name="mr_anderson">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/mr_anderson.htm "Mr. Anderson"], ''These Waves of Girls''.</ref> Some pages feature sound effects, and narrated versions are available for some pages.<ref name="Koskimaa" />

''These Waves of Girls'' is a distinctly ''Internet'' creation. The context of it's creation — the early-2000s Internet — is clearly visible in its form. It uses HTML frames, Flash, QuickTime, and the <code><marquee></code> tag, all of which are hallmarks of that context, and all of which, like the visual style, now appear dated. Its Internet-based existence is more important, however, for the way in which it influences the text. This goes beyond the effects of hyperlinking within a document. The page layout, which is afforded by the (seemingly) limitless canvas of the browser, shapes the effect of the text; "the lay-out of the novella is based on the tension between the horizontal and vertical dimensions. This tension, the constant shifts between the horizontal and vertical dominating the lay-out, is very effectively played to heighten the central tendencies in the textual content."<ref name="Koskimaa" /> The fact that it is an Internet-based work also affects the reader's experience simply through the reader's perception of the Internet as a medium; "it situates itself in the huge docuverse of the Internet," meaning that the reader confronts it as webpage first, and only secondarily as novella.<ref name="Koskimaa" />

== Critical Response ==

''These Waves of Girls'' has generally been well received. George Dillon praised the work, saying that while "most of the action described is reassuringly ordinary: attending school, riding bicycles, going to camp, hanging out with friends, playing party games," the effect, "filtered through the interface, ... is not boring or mundane but exciting and universal."<ref name="Dillon">George Dillon in ["Anti-Laokoön: Mixed and Merged Modes of Imagetext on the Web"]], ''The Writer's Craft, the Culture's Technology'', edited by Carmen Rosa Caldas-Coulthard and Michael J. Toolan, 2005. Page 510.</ref> The work was awarded the Electronic Literature Organization's Fiction Prize for 2001.<ref name="award"/> This was the "first recipient of a prize that [was] set up to become an annual event," and, "(at least in the eyes of the ELO representatives)," "the highpoint of over 15 years of digital fiction."<ref name="Rau-1" />

Nevertheless, "there has been some critique towards These Waves."<ref name="Koskimaa"/> Anja Rau's criticism is especially severe. She claims that the work is not as innovative as others have claimed,<ref name="Koskimaa" /> that it "does not meet the technological standards of current internet or CD-ROM productions,"<ref name="Rau-1">Anja Rau, [http://www.anjarau.de/wp-content/downloads/dd_ar_fisher_waves_en.pdf "A brief beta-test of this year's winner of the ELO Awards, Caitlin Fisher's ''These Waves of Girls''" [PDF link]], 31 October 2001. Page 1.</ref>, covers "an outdated topic," and "completely ignores its predecessors in both print and the digital medium."<ref name="Rau-2">Anja Rau, [http://www.anjarau.de/wp-content/downloads/dd_ar_fisher_waves_en.pdf "A brief beta-test of this year's winner of the ELO Awards, Caitlin Fisher's ''These Waves of Girls''" [PDF link]], 31 October 2001. Page 2.</ref> ''These Waves of Girls'' has received more reserved criticisms as well; as George Dillon recounts, "Landow (2006) refers to ''These Waves of Girls'' as a 'link intensive hyperfiction' (p. 200), which at the same time has a 'limited hypertextuality' because it has 'an organisational superstructure, a top-level branching structure that leads to multiple relatively isolated linear narratives' (p. 265). Similarly, [http://www.dichtung-digital.org/2009/Pope/index.htm Pope (2009)] describes the reading experience as suffering from having too many explicit links to choose from 'and the perception in my reader-participants that there was no story at all.'<ref name="Dillon" /> Dillon concludes that "while the 'intensive' hyperlinking might not suit some readers, this award-winning hypertext is highly regarded for its innovative use of images and sounds alongside written text."<ref name="Dillon" />

== External Links ==

* [http://www.yorku.ca/caitlin/waves/ ''These Waves of Girls'']

== References ==

{{reflist}}

These Waves of Girls

2014-11-12T06:25:57Z

NicholasLoewen: /* Critical Response */

''These Waves of Girls'' is a hypermedia novella by [[Caitlin Fisher]]. The novella is "composed as a series of small stories, artifacts, interconnections and meditations from the point of view of a four year old, a ten-year old, a twenty year old" and explores "memory, girlhoods, cruelty, childhood play and sexuality."<ref name="award">Electronic Literature Organization, [http://www.eliterature.org/Awards2001/fiction-FisherCaitlin.php "2001 Fiction Award Winner!"], accessed 9 Noveber 2014.</ref> ''These Waves of Girls'' was awarded the Electronic Literature Organization's Fiction Award for 2001.<ref name="award" />

== Description ==

=== Text ===

Through fragments of memory, the first-person narrative of ''These Waves of Girls'' tells the story of the childhood and youth of a woman named Tracey. It is highly personal and told in vivid detail. The exploration of "cruelty" can be incredibly graphic:

<blockquote>"We find this boy. Pursue. Slowly, in unison, not speaking, we circle and stop him. And make him take down his pants, because he doesn't want to. And we pull away his bicycle and this sandpit is huge and there are no adults anywhere in the world and one girl kicks sand. And then we are all kicking, kicking wild like every time you've been told not to kick sand has been stored up tight in our bodies waiting for this frenzy and, yes, the sand does get in our eyes and I can't even remember seeing us doing it just breathing and tearing. As the sand clears, he's crumbling and sobbing and we seem so much bigger than he is, there, like a shell-less thing, his penis coated with gravel. And he wasn't supposed to be that small."<ref name="vanessa">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/vanessa.htm "Vanessa"], ''These Waves of Girls''.</ref></blockquote>

The theme of exploring "sexuality" is pervasive throughout the text. Sometimes it is a subtle undercurrent, but often it is described in intense and intimate detail:

<blockquote>"Her fingers inside me feel like spiders, she rides my body and there is no weight, only breeze; I roll over and over her screaming that I want her and she snaps like twigs and her body is a bonfire and I am coming because she burns as hot as a match, even if she only weighs 90 pounds, even if she'll never lick chocolate from my thighs, even if I know she only fucked me 'cause it was way too cold outside, even if she thinks that if I see her she's way too big; even if she's already at the mirror."<ref name="watching">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/watching.htm "Watching"], ''These Waves of Girls''.</ref></blockquote>

Because of it's nonlinear nature, the story is impossible to synopsize without simply listing it's major themes. This means that even after spending some time with the text, it is difficult to understand the work as a whole (Zach Tomaszewski writes that "hypertexts are the most ergodic of literary texts."<ref name="Tomaszewski-intro">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/introduction.html "Introduction," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref>). This contributes to its pull on the reader, however. The combination of confronting the text ''in media res'', the voyeuristic reading experience, and the challenge which it presents to the reader, are the key devices which attract and sustain the reader's interest.

=== Architecture ===

''These Waves of Girls'' "is organized into a number of story threads," and these "threads are grouped into eight subsites."<ref name=Tomaszewski-imageability">Zach Tomaszewski, [http://www2.hawaii.edu/~ztomasze/eng394/waves/imageability.html "Imageability," ''Navigating a Hypertext :: These Waves of Girls''], 22 March 2006.</ref> The text begins with a main menu, which links to the subsites: "kissing girls," "school tales," "I want her," "city," "country," "she was warned," "dare," and "her collections."<ref name="menu4">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/navigate.html "menu4"], ''These Waves of Girls''.</ref> Each subsite has "an associated navigation frame;" the text of each story thread is shown alongside a menu with links to the other main threads in the subsite. The subsites are not entirely separate stories, but rather collections of threads, each of which frames the story differently.

=== Form ===

The novella is a visual cacophony. It is full of bright colours, and "relies heavily on the combination of text and visuals."<ref name="Koskimaa">Raine Koskimaa, [http://www.dichtung-digital.de/2004/3/Koskimaa/index.htm "These Waves of Memories: A hyperfiction by Caitlin Fisher"], March 2004.</ref> It also features some interactive elements, such as images which react as if stretched or squeezed, when the cursor is moved over them.<ref name="mr_anderson">Caitlin Fisher, [http://www.yorku.ca/caitlin/waves/mr_anderson.htm "Mr. Anderson"], ''These Waves of Girls''.</ref> Some pages feature sound effects, and narrated versions are available for some pages.<ref name="Koskimaa" />

''These Waves of Girls'' is a distinctly ''Internet'' creation. The context of it's creation — the early-2000s Internet — is clearly visible in its form. It uses HTML frames, Flash, QuickTime, and the <code><marquee></code> tag, all of which are hallmarks of that context, and all of which, like the visual style, now appear dated. Its Internet-based existence is more important, however, for the way in which it influences the text. This goes beyond the effects of hyperlinking within a document. The page layout, which is afforded by the (seemingly) limitless canvas of the browser, shapes the effect of the text; "the lay-out of the novella is based on the tension between the horizontal and vertical dimensions. This tension, the constant shifts between the horizontal and vertical dominating the lay-out, is very effectively played to heighten the central tendencies in the textual content."<ref name="Koskimaa" /> The fact that it is an Internet-based work also affects the reader's experience simply through the reader's perception of the Internet as a medium; "it situates itself in the huge docuverse of the Internet," meaning that the reader confronts it as webpage first, and only secondarily as novella.<ref name="Koskimaa" />

== Critical Response ==

''These Waves of Girls'' has generally been well received. George Dillon praised the work, saying that while "most of the action described is reassuringly ordinary: attending school, riding bicycles, going to camp, hanging out with friends, playing party games," the effect, "filtered through the interface, ... is not boring or mundane but exciting and universal."<ref name="Dillon">George Dillon in ["Anti-Laokoön: Mixed and Merged Modes of Imagetext on the Web"]], ''The Writer's Craft, the Culture's Technology'', edited by Carmen Rosa Caldas-Coulthard and Michael J. Toolan, 2005. Page 510.</ref> The work was awarded the Electronic Literature Organization's Fiction Prize for 2001.<ref name="elo"/> This was the "first recipient of a prize that [was] set up to become an annual event," and, "(at least in the eyes of the ELO representatives)," "the highpoint of over 15 years of digital fiction."<ref name="Rau-1" />

Nevertheless, "there has been some critique towards These Waves."<ref name="Koskimaa"/> Anja Rau's criticism is especially severe. She claims that the work is not as innovative as others have claimed,<ref name="Koskimaa" /> that it "does not meet the technological standards of current internet or CD-ROM productions,"<ref name="Rau-1">Anja Rau, [http://www.anjarau.de/wp-content/downloads/dd_ar_fisher_waves_en.pdf "A brief beta-test of this year's winner of the ELO Awards, Caitlin Fisher's ''These Waves of Girls''" [PDF link]], 31 October 2001. Page 1.</ref>, covers "an outdated topic," and "completely ignores its predecessors in both print and the digital medium."<ref name="Rau-2">Anja Rau, [http://www.anjarau.de/wp-content/downloads/dd_ar_fisher_waves_en.pdf "A brief beta-test of this year's winner of the ELO Awards, Caitlin Fisher's ''These Waves of Girls''" [PDF link]], 31 October 2001. Page 2.</ref> ''These Waves of Girls'' has received more reserved criticisms as well; as George Dillon recounts, "Landow (2006) refers to ''These Waves of Girls'' as a 'link intensive hyperfiction' (p. 200), which at the same time has a 'limited hypertextuality' because it has 'an organisational superstructure, a top-level branching structure that leads to multiple relatively isolated linear narratives' (p. 265). Similarly, [http://www.dichtung-digital.org/2009/Pope/index.htm Pope (2009)] describes the reading experience as suffering from having too many explicit links to choose from 'and the perception in my reader-participants that there was no story at all.'<ref name="Dillon" /> Dillon concludes that "while the 'intensive' hyperlinking might not suit some readers, this award-winning hypertext is highly regarded for its innovative use of images and sounds alongside written text."<ref name="Dillon" />

== External Links ==

* [http://www.yorku.ca/caitlin/waves/ ''These Waves of Girls'']

== References ==

{{reflist}}

These Waves of Girls

2014-11-12T05:01:19Z

NicholasLoewen: More description work.

These Waves of Girls

2014-11-12T03:09:53Z

NicholasLoewen: Added critical response section.

These Waves of Girls

2014-11-12T03:08:36Z

NicholasLoewen: /* Description */ fixed minor errors.

These Waves of Girls

2014-11-12T03:06:49Z

NicholasLoewen: Significantly expanded the Description.

These Waves of Girls

2014-11-11T23:52:08Z

NicholasLoewen: /* Description */

These Waves of Girls

2014-11-11T23:37:55Z

NicholasLoewen: Gave up on giving a synopsis. Swapped for a "description". Wrote more description.

These Waves of Girls

2014-11-10T00:31:12Z

NicholasLoewen: Began synopsis.

These Waves of Girls

2014-11-10T00:20:17Z

NicholasLoewen: Created page and added a brief intro.

Caitlin Fisher

2014-11-10T00:13:08Z

NicholasLoewen: Created page and added a little bit of bio.

Course:VISA310

2014-11-10T00:03:04Z

NicholasLoewen: /* F */ added Caitlin Fisher

{{Infobox_New_Course

|title=Intermediate Digital Arts I

|picture=Image:wiki.png

|subject code=VISA

|course number=310

|section number=

|instructor=Christine D'Onofrio

|instructor 2=

|instructor 3=

|instructor 4=

|instructor 5=

|email=christine.donofrio@ubc.ca

|office=

|office hours=

|schedule= Thursday's 9:30-12:30pm

|classroom=Buchanan B204

}}


VISA 310 - Intermediate Digital Arts

This wiki will serve as an inventory of contemporary digital art works and digital art's historical antecedents and related sources. It is by the contribution of students in VISA 310, starting in Fall of 2014, that we have this page.

'''Digital Artists'''
=#=
*[http://wiki.ubc.ca/0100101110101101 0100101110101101] (Collective: Eva and Franco Mattes)

=A=
*[http://wiki.ubc.ca/Artist_2.0 Artist 2.0] (Museum of Glitch Aesthetics)
*[http://wiki.ubc.ca/Anthony_Antonellis Anthony Antonellis] (Charlotte Zwimpfer)

=B=
*[http://wiki.ubc.ca/Blast_Theory Blast Theory] (Helen)

=C=

* [[Jim Campbell]] (Nick Loewen and Makoto Hoshina)

=D=
*[http://wiki.ubc.ca/Stan_Douglas Stan Douglas](Farnoosh and Liss)

=E=
=F=

[[Caitlin Fisher]]

=G=
=H=
*[http://wiki.ubc.ca/Mark_Hansen_and_Ben_Rubin Mark Hansen and Ben Rubin]
*[http://wiki.ubc.ca/Hoogerbrugge Hoogerbrugge](Sara and Alec)

=I=
=J=
*[http://wiki.ubc.ca/JODI JODI] (Collective: Joan Heemskerk of and Dirk Paesmans)
*[http://wiki.ubc.ca/Erik_Johansson Erik Johansson] (Natalie)

=K=

* [[Kenichi Okada]] (Jobie and Chanel)

=L=
*[http://wiki.ubc.ca/Lynn_Hershman_Leeman Lynn Hershman Leeman]
*[http://wiki.ubc.ca/Oliver_Laric Oliver Laric] (Farnoosh)

=M=
*[http://wiki.ubc.ca/Mary_Flanagan Mary Flanagan] (Brock & Silver)
*Jennifer and Kevin McCoy (Jobie)
*[http://wiki.ubc.ca/Rosa_Menkman Rosa Menkman] (Bo & Sia)
*[http://wiki.ubc.ca/Mouchette Mouchette]
*[http://wiki.ubc.ca/Michael_Manning Michael Manning] (Sia)

=N=
=O=
=P=
*[http://wiki.ubc.ca/Petra_Cortright Petra Cortright]
=Q=
=R=
*[http://wiki.ubc.ca/Rafael_Rozendaal Rafael Rozendaal]
*[http://wiki.ubc.ca/Daniel_Rozin Daniel Rozin]'s [http://wiki.ubc.ca/Wooden_Mirror#Emotional_Outcomes_of_Wooden_Mirror ''Wooden Mirror''](Sasha and Ewon)
*[http://wiki.ubc.ca/Rosa_Menkman Rosa Mennkman]

=S=
*[http://wiki.ubc.ca/John_F_Simon_Jr John F Simon Jr]

=T=
*[http://wiki.ubc.ca/Jake_Tilson Jake Tilson] (The Cooker)

=U=
=V=
=W=
*[http://wiki.ubc.ca/WALLPAPERS WALLPAPERS]

=X=
*[http://wiki.ubc.ca/Xoxox xoxox] (Kathleen and Kathy)
* Miao Xiaochun (Ewon)
=Y=
*[http://wiki.ubc.ca/Yung_Jake Yung Jake] (Sara)
=Z=
*[http://wiki.ubc.ca/ZeFrank Ze Frank] (Natalie and Charlotte)

1st And San Fernando 10 Watts

2014-10-24T03:51:11Z

NicholasLoewen: /* Analysis */ removed placeholder name...

''1st And San Fernando 10 Watts'' is an artwork by [[Jim Campbell]]. It is a sister piece to his temporary public installation ''1st And San Fernando 10,000 Watts''.<ref>[http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/ ''1st And San Fernando 10 Watts''], Jim Campbell</ref> The piece consists of an array of 192 LEDs which, driven by Campbell's custom electronics and viewed through a rice paper diffusion screen, create a fuzzy representation of the pedestrian and motor traffic at the intersection of 1st and San Fernando. The scene appears as a field of bright white light, with the figures and vehicles which cross the field cast as shadows.

{{Infobox artwork
|title = 1st And San Fernando 10 Watts
|artist = Jim Campbell
|image = Jim Campbell - 1st and San Fernando 10 watts.jpg
|caption =
|medium = custom low-res display
|date = 2008
|url = [http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/ ''1st And San Fernando 10 Watts'']
}}

== 1st And San Fernando 10,000 Watts ==

The sister piece of ''1st And San Fernando 10 Watts'', ''1st And San Fernando 10,000 Watts'', was commissioned by [[ZERO1]] for the 2008 "2nd 01SJ Biennial Global Festival of Art on the Edge," produced by ZERO1. The O1SJ Biennial is a citywide festival which "attempts to entwine Silicon Valley's high-tech sophistication with a conceptual and experiential sophistication peculiar to contemporary art."<ref>Kenneth Baker, [http://www.sfgate.com/entertainment/article/01SJ-lends-high-tech-San-Jose-an-artsy-air-3210235.php#ixzz0Z8qb1mTf ''01SJ lends high-tech San Jose an artsy air''], SFGate, June 6 2008</ref>

''1st And San Fernando 10,000 Watts'' was installed on the exterior of the San Jose Museum of Art, on the side of the building furthest from 1st And San Fernando. Like ''1st And San Fernando 10 Watts'' it used a grid of lights behind a diffusion screen to recreate footage of traffic at the intersection of 1st and San Fernando. ''1st And San Fernando 10,000 Watts'', however, was significantly larger. It used incandescent lightbulbs rather than LEDs, giving it an amber glow reminiscent of pedestrian traffic control signals.

== Analysis ==

Though this artwork is, in a sense, a video installation, the low resolution and out of focus nature of the presentation dramatically changes its effect. It is not experienced as a video which has been installed in a gallery, but rather as a gallery installation which happens to employ video. As Benjamin Sutton says, "video serves simultaneously as content and a formal element."<ref name="artnet">Benjamin Sutton, [http://news.artnet.com/art-world/why-is-jim-campbells-low-res-video-art-so-compelling-even-captivating-8270 ''Why Is Jim Campbell's Low-Res Video Art So Compelling, Even Captivating?''], artnet news, April 2 2014</ref> The blurriness of the scene removes it's specificity. The title offers the precise location and experience that the piece references, but due to the form of the artwork, the imagery becomes about the archetypal experience of traffic and the metropolitan. Campbell says that “most of my work you understand because it's moving, so when it stops, it becomes this relatively abstract image."<ref name="artnet" /> This is true of ''1st And San Fernando 10 Watts'', and it contributes to the experience of the artwork as a symbol of metropolitan life; it all falls apart when it stops moving.

== External Links ==

* [http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/ ''1st And San Fernando 10 Watts''] on Campbell's website

== References ==

{{reflist}}

1st And San Fernando 10 Watts

2014-10-23T20:57:09Z

NicholasLoewen: Improved citations.

''1st And San Fernando 10 Watts'' is an artwork by [[Jim Campbell]]. It is a sister piece to his temporary public installation ''1st And San Fernando 10,000 Watts''.<ref>[http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/ ''1st And San Fernando 10 Watts''], Jim Campbell</ref> The piece consists of an array of 192 LEDs which, driven by Campbell's custom electronics and viewed through a rice paper diffusion screen, create a fuzzy representation of the pedestrian and motor traffic at the intersection of 1st and San Fernando. The scene appears as a field of bright white light, with the figures and vehicles which cross the field cast as shadows.

{{Infobox artwork
|title = 1st And San Fernando 10 Watts
|artist = Jim Campbell
|image = Jim Campbell - 1st and San Fernando 10 watts.jpg
|caption =
|medium = custom low-res display
|date = 2008
|url = [http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/ ''1st And San Fernando 10 Watts'']
}}

== 1st And San Fernando 10,000 Watts ==

The sister piece of ''1st And San Fernando 10 Watts'', ''1st And San Fernando 10,000 Watts'', was commissioned by [[ZERO1]] for the 2008 "2nd 01SJ Biennial Global Festival of Art on the Edge," produced by ZERO1. The O1SJ Biennial is a citywide festival which "attempts to entwine Silicon Valley's high-tech sophistication with a conceptual and experiential sophistication peculiar to contemporary art."<ref>Kenneth Baker, [http://www.sfgate.com/entertainment/article/01SJ-lends-high-tech-San-Jose-an-artsy-air-3210235.php#ixzz0Z8qb1mTf ''01SJ lends high-tech San Jose an artsy air''], SFGate, June 6 2008</ref>

''1st And San Fernando 10,000 Watts'' was installed on the exterior of the San Jose Museum of Art, on the side of the building furthest from 1st And San Fernando. Like ''1st And San Fernando 10 Watts'' it used a grid of lights behind a diffusion screen to recreate footage of traffic at the intersection of 1st and San Fernando. ''1st And San Fernando 10,000 Watts'', however, was significantly larger. It used incandescent lightbulbs rather than LEDs, giving it an amber glow reminiscent of pedestrian traffic control signals.

== Analysis ==

Though this artwork is, in a sense, a video installation, the low resolution and out of focus nature of the presentation dramatically changes its effect. It is not experienced as a video which has been installed in a gallery, but rather as a gallery installation which happens to employ video. As so-and-so says, "video serves simultaneously as content and a formal element."<ref name="artnet">Benjamin Sutton, [http://news.artnet.com/art-world/why-is-jim-campbells-low-res-video-art-so-compelling-even-captivating-8270 ''Why Is Jim Campbell's Low-Res Video Art So Compelling, Even Captivating?''], artnet news, April 2 2014</ref> The blurriness of the scene removes it's specificity. The title offers the precise location and experience that the piece references, but due to the form of the artwork, the imagery becomes about the archetypal experience of traffic and the metropolitan. Campbell says that “most of my work you understand because it's moving, so when it stops, it becomes this relatively abstract image."<ref name="artnet" /> This is true of ''1st And San Fernando 10 Watts'', and it contributes to the experience of the artwork as a symbol of metropolitan life; it all falls apart when it stops moving.

== External Links ==

* [http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/ ''1st And San Fernando 10 Watts''] on Campbell's website

== References ==

{{reflist}}

Template:Infobox artwork

2014-10-23T20:46:15Z

NicholasLoewen: fixed the fact that URL wasn't bold anymore

{|class="infobox" style="width:200;"
!colspan="2" style="background: #9900ff; color: #ffffff;" | {{{title}}}
|-
| colspan="2" style="text-align: center; max-width: 200px" | [[File:{{{image}}}|200px|{{{caption}}}]]
|-
| colspan="2" class="thumbcaption" | {{{caption}}}
|-
|'''Artist''' || {{{artist}}}
|-
|'''Medium''' || {{{medium}}}
|-
|'''Date''' || {{{date}}}
|-
|'''URL''' || {{{url}}}
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1st And San Fernando 10 Watts

2014-10-23T20:45:36Z

NicholasLoewen: fixed citation error

''1st And San Fernando 10 Watts'' is an artwork by [[Jim Campbell]]. It is a sister piece to his temporary public installation ''1st And San Fernando 10,000 Watts''.<ref>http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/</ref> The piece consists of an array of 192 LEDs which, driven by Campbell's custom electronics and viewed through a rice paper diffusion screen, create a fuzzy representation of the pedestrian and motor traffic at the intersection of 1st and San Fernando. The scene appears as a field of bright white light, with the figures and vehicles which cross the field cast as shadows.

{{Infobox artwork
|title = 1st And San Fernando 10 Watts
|artist = Jim Campbell
|image = Jim Campbell - 1st and San Fernando 10 watts.jpg
|caption =
|medium = custom low-res display
|date = 2008
|url = [http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/ ''1st And San Fernando 10 Watts'']
}}

== 1st And San Fernando 10,000 Watts ==

The sister piece of ''1st And San Fernando 10 Watts'', ''1st And San Fernando 10,000 Watts'', was commissioned by [[ZERO1]] for the 2008 "2nd 01SJ Biennial Global Festival of Art on the Edge," produced by ZERO1. The O1SJ Biennial is a citywide festival which "attempts to entwine Silicon Valley's high-tech sophistication with a conceptual and experiential sophistication peculiar to contemporary art."<ref>http://www.sfgate.com/entertainment/article/01SJ-lends-high-tech-San-Jose-an-artsy-air-3210235.php#ixzz0Z8qb1mTf</ref>

''1st And San Fernando 10,000 Watts'' was installed on the exterior of the San Jose Museum of Art, on the side of the building furthest from 1st And San Fernando. Like ''1st And San Fernando 10 Watts'' it used a grid of lights behind a diffusion screen to recreate footage of traffic at the intersection of 1st and San Fernando. ''1st And San Fernando 10,000 Watts'', however, was significantly larger. It used incandescent lightbulbs rather than LEDs, giving it an amber glow reminiscent of pedestrian traffic control signals.

== Analysis ==

Though this artwork is, in a sense, a video installation, the low resolution and out of focus nature of the presentation dramatically changes its effect. It is not experienced as a video which has been installed in a gallery, but rather as a gallery installation which happens to employ video. As so-and-so says, "video serves simultaneously as content and a formal element."<ref name="artnet">http://news.artnet.com/art-world/why-is-jim-campbells-low-res-video-art-so-compelling-even-captivating-8270</ref> The blurriness of the scene removes it's specificity. The title offers the precise location and experience that the piece references, but due to the form of the artwork, the imagery becomes about the archetypal experience of traffic and the metropolitan. Campbell says that “most of my work you understand because it's moving, so when it stops, it becomes this relatively abstract image."<ref name="artnet" /> This is true of ''1st And San Fernando 10 Watts'', and it contributes to the experience of the artwork as a symbol of metropolitan life; it all falls apart when it stops moving.

== External Links ==

* [http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/ ''1st And San Fernando 10 Watts''] on Campbell's website

== References ==

{{reflist}}

1st And San Fernando 10 Watts

2014-10-23T20:44:49Z

NicholasLoewen: Began analysis section

''1st And San Fernando 10 Watts'' is an artwork by [[Jim Campbell]]. It is a sister piece to his temporary public installation ''1st And San Fernando 10,000 Watts''.<ref>http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/</ref> The piece consists of an array of 192 LEDs which, driven by Campbell's custom electronics and viewed through a rice paper diffusion screen, create a fuzzy representation of the pedestrian and motor traffic at the intersection of 1st and San Fernando. The scene appears as a field of bright white light, with the figures and vehicles which cross the field cast as shadows.

{{Infobox artwork
|title = 1st And San Fernando 10 Watts
|artist = Jim Campbell
|image = Jim Campbell - 1st and San Fernando 10 watts.jpg
|caption =
|medium = custom low-res display
|date = 2008
|url = [http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/ ''1st And San Fernando 10 Watts'']
}}

== 1st And San Fernando 10,000 Watts ==

The sister piece of ''1st And San Fernando 10 Watts'', ''1st And San Fernando 10,000 Watts'', was commissioned by [[ZERO1]] for the 2008 "2nd 01SJ Biennial Global Festival of Art on the Edge," produced by ZERO1. The O1SJ Biennial is a citywide festival which "attempts to entwine Silicon Valley's high-tech sophistication with a conceptual and experiential sophistication peculiar to contemporary art."<ref>http://www.sfgate.com/entertainment/article/01SJ-lends-high-tech-San-Jose-an-artsy-air-3210235.php#ixzz0Z8qb1mTf</ref>

''1st And San Fernando 10,000 Watts'' was installed on the exterior of the San Jose Museum of Art, on the side of the building furthest from 1st And San Fernando. Like ''1st And San Fernando 10 Watts'' it used a grid of lights behind a diffusion screen to recreate footage of traffic at the intersection of 1st and San Fernando. ''1st And San Fernando 10,000 Watts'', however, was significantly larger. It used incandescent lightbulbs rather than LEDs, giving it an amber glow reminiscent of pedestrian traffic control signals.

== Analysis ==

Though this artwork is, in a sense, a video installation, the low resolution and out of focus nature of the presentation dramatically changes its effect. It is not experienced as a video which has been installed in a gallery, but rather as a gallery installation which happens to employ video. As so-and-so says, "video serves simultaneously as content and a formal element."<ref name="artnet">http://news.artnet.com/art-world/why-is-jim-campbells-low-res-video-art-so-compelling-even-captivating-8270/ref> The blurriness of the scene removes it's specificity. The title offers the precise location and experience that the piece references, but due to the form of the artwork, the imagery becomes about the archetypal experience of traffic and the metropolitan. Campbell says that “most of my work you understand because it's moving, so when it stops, it becomes this relatively abstract image."<ref name="artnet" /> This is true of ''1st And San Fernando 10 Watts'', and it contributes to the experience of the artwork as a symbol of metropolitan life; it all falls apart when it stops moving.

== External Links ==

* [http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/ ''1st And San Fernando 10 Watts''] on Campbell's website

== References ==

{{reflist}}

1st And San Fernando 10 Watts

2014-10-23T20:09:47Z

NicholasLoewen: improved infobox.

Template:Infobox artwork

2014-10-23T20:08:29Z

NicholasLoewen:

Template:Infobox artwork

2014-10-23T20:02:52Z

NicholasLoewen:

Template:Infobox artwork

2014-10-23T19:58:27Z

NicholasLoewen: Made URL optional

1st And San Fernando 10 Watts

2014-10-23T19:55:44Z

NicholasLoewen: Fixed up artwork infobox.

1st And San Fernando 10 Watts

2014-10-22T19:28:31Z

NicholasLoewen: Expanded article, added section on 100,000 Watts version.

File:Jim Campbell - 1st and San Fernando 10 watts.jpg

2014-10-22T19:03:43Z

NicholasLoewen:

=={{int:filedesc}}==
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|date=2014-10-22
|source=http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/
|author=Jim Campbell
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=={{int:license-header}}==
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1st And San Fernando 10 Watts

2014-10-22T19:00:48Z

NicholasLoewen: Created page.

''1st And San Fernando 10 Watts'' is an artwork by [[Jim Campell]]. It is a sister piece to his temporary public installation ''1st And San Fernando 10,000 Watts''.<ref>http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/</ref> The piece consists of an array of 192 LEDs which, driven by Campbell's custom electronics and viewed through a rice paper diffusion screen, create a fuzzy representation of the pedestrian and motor traffic at the intersection of 1st and San Fernando.

{{Infobox artwork
|title = 1st And San Fernando 10 Watts
|artist = Jim Campbell
|image =
|caption =
|medium = custom low-resolution display (rice paper, plexiglass, LEDs, custom electronics)
|date = c. 2008
|url =
}}

== External Links ==

* [http://www.jimcampbell.tv/portfolio/low_resolution_works/first_and_san_fernando_ten_watts/ ''1st And San Fernando 10 Watts''] on Campbell's website

== References ==

{{reflist}}

Jim Campbell

2014-10-22T18:46:42Z

NicholasLoewen: Created page.

Jim Campbell is an artist.

He made the artwork ''[[1st And San Fernando 10 Watts]]''.

Course:VISA310

2014-10-20T03:39:15Z

NicholasLoewen: /* C */ fixed link syntax

Course:VISA310

2014-10-20T03:29:16Z

NicholasLoewen: /* C */ Claimed Jim Campbell for journal #3

Getting Lost

2014-10-08T06:24:00Z

NicholasLoewen: /* External Links */ prettified link

''Getting Lost (The Long Dérive)'', created in 2012, is one of [[Artist 2.0]]'s more recent works. It is a remix of previous work by Artist 2.0: it juxtaposes a ''Lake District Walk'', the left channel, with a crude 3D animation created in a game design program, the right channel.<ref name="MOGA_catalog-6">''Museum of Glitch Aesthetics Catalog,'' 6</ref> The animation "playfully mimics the mobile video imagery."<ref name="MOGA_catalog-6" /> According to the [http://glitchmuseum.com/MOGA_Catalog.pdf Museum of Glitch Aesthetics Catalog] the artwork '
problematizes the relationship between walking through nature, navigating through computer-constructed worlds, and imagining new modes of augmented or (re)mixed reality." The artwork explores the relationship between experiences of the digital and physical by applying the Situationist ''dérive'' to both spaces.

As the animation attempts to mimic the scenery of the physical world and the artist's motion within it, it implies that experience of the two spaces are related, but different. It causes us to acknowledge that instinctively we predicate our experience of the digital on our experience of the physical. Because the experiences are shown to be clearly different, however, we are encouraged to reinterpret our experience of digital space as a wholly separate and novel experience which must thus be given further consideration.

{{Infobox artwork
|title = Getting Lost (The Long Dérive)
|artist = Artist 2.0
|image = Getting Lost (The Long Dérive).png
|caption =
|medium = digital video and 3D animation (two channel)
|date = 2012
|url = http://www.glitchmuseum.com/gettinglost.html
}}

== Art Historical References ==

The piece "is an obvious reference to both the British artist Richard Long and the Situationist act of drifting." This act of drifting is the "dérive" referenced in the title. In 1958 the Situationist Guy Debord, defined ''dérive'' as "a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances" and explained that it "also designates a specific uninterrupted period of dériving."<ref>Guy Debord (1958) ''[http://www.cddc.vt.edu/sionline/si/definitions.html Definitions.]'' Internationale Situationniste #1 (Paris, June 1958). Translated by Ken Knabb.</ref> Wikipedia calls dérive a "technique for ... engaging in new experiences."<ref>"[http://en.wikipedia.org/wiki/D%C3%A9rive Dérive]." ''Wikipedia.'' The Wikimedia Foundation, 28 February 2014. Web.</ref>

The MOGA also describes this work as an "obvious reference" to the "British artist Richard Long".<ref name="laterworks">"[http://glitchmuseum.com/laterworks.html Later Works.]" ''MOGA.'' N.p., n.d. Web.</ref> Long is famous for artwork created through the process of walking. In 1967 Long created "A Line Made By Walking," in which he walked back and forth along a line in a field of grass until the line became visible, at which point he photographed the line.<ref name="tate-walking_line">"[http://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-p07149 A Line Made by Walking]." ''Tate.'' Tate, May 2007. Web.</ref> This piece has proved to significant; while sculptural, it also "anticipates a widespread interest in performative art practice."<ref name="tate-walking_line" /> Despite the fact that the work was both sculptural and performative, its only continued existence is as a documentary image. Following ''A Line Made By Walking,'' "Long made his international reputation during the 1970s with sculptures made as the result of epic walks, sometimes lasting many days, to remote parts of the world."<ref>"[http://www.tate.org.uk/art/artists/richard-long-1525 Richard Long]." ''Tate.'' Tate, n.d. Web.</ref>

The MOGA Catalog claims that "mashing up these two seemingly unaffiliated sources resonates with much of The artist 2.0’s glitch aesthetics." <ref>''MOGA Catalog,'' 10</ref>

== Conceptual Outcomes ==

In the same way that artists have used the ''dérive'' to engage in new experiences in physical space, Artist 2.0 uses it to engage with new experiences in digital space. The conceptual effect of ''Getting Lost'' is at least in part the same as the conceptual effect of all self-consciously digital art: it forces a questioning of how human experience is altered by this new phenomenon. By using the dérive, Artist 2.0 ''engages'' with new experience, but does not seek to understand or define it. This means that, conceptually, the piece forces a questioning of experience but does not present a concrete argument regarding it.

Because the walk depicted in the work is undirected, a dérive, the title of the piece (and the MOGA) associate it with Long's work subsequent to ''A Line Made By Walking''. Due to the way that ''Getting Lost'' is presented, however, it is perhaps more analogous to ''A Line Made By Walking'' in conceptual effect. Like Long's work, Artist 2.0's is performative, and somewhat sculptural (albeit digitally); but also like Long's work, it only exists as the ''documentation'' of an event with conceptual significance. It may be that, as a result of this, Artist 2.0's work does not embody a significant concept, so much as point to an experience which was imbued with conceptually significance. This encourages the viewer to reconsider their analogous experiences, to view them as analogous not only in structure but also in significance.

The significance of the work must also be considered in it's context as a meta-artwork. It is unclear whether this context invalidates all of the conceptual effects discussed so far, or whether it simply adds another layer of effect. The meta-art context gives the artwork significance as a commentary on the art world; whether this is incompatible with the meta-artwork having its own conceptual significance is debatable. Nevertheless, the true conceptual significance of the work may prove to be in this relationship between meta-artwork and context, as this is the most novel aspect of the piece.

== External Links ==

* [http://www.glitchmuseum.com/gettinglost.html ''Getting Lost'' at the Museum of Glitch Aesthetics]

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.

== Wiki Authors ==

[[User:NicholasLoewen|Nick Loewen]]

Getting Lost

2014-10-08T06:23:02Z

NicholasLoewen: Improved citations.

''Getting Lost (The Long Dérive)'', created in 2012, is one of [[Artist 2.0]]'s more recent works. It is a remix of previous work by Artist 2.0: it juxtaposes a ''Lake District Walk'', the left channel, with a crude 3D animation created in a game design program, the right channel.<ref name="MOGA_catalog-6">''Museum of Glitch Aesthetics Catalog,'' 6</ref> The animation "playfully mimics the mobile video imagery."<ref name="MOGA_catalog-6" /> According to the [http://glitchmuseum.com/MOGA_Catalog.pdf Museum of Glitch Aesthetics Catalog] the artwork '
problematizes the relationship between walking through nature, navigating through computer-constructed worlds, and imagining new modes of augmented or (re)mixed reality." The artwork explores the relationship between experiences of the digital and physical by applying the Situationist ''dérive'' to both spaces.

As the animation attempts to mimic the scenery of the physical world and the artist's motion within it, it implies that experience of the two spaces are related, but different. It causes us to acknowledge that instinctively we predicate our experience of the digital on our experience of the physical. Because the experiences are shown to be clearly different, however, we are encouraged to reinterpret our experience of digital space as a wholly separate and novel experience which must thus be given further consideration.

{{Infobox artwork
|title = Getting Lost (The Long Dérive)
|artist = Artist 2.0
|image = Getting Lost (The Long Dérive).png
|caption =
|medium = digital video and 3D animation (two channel)
|date = 2012
|url = http://www.glitchmuseum.com/gettinglost.html
}}

== Art Historical References ==

The piece "is an obvious reference to both the British artist Richard Long and the Situationist act of drifting." This act of drifting is the "dérive" referenced in the title. In 1958 the Situationist Guy Debord, defined ''dérive'' as "a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances" and explained that it "also designates a specific uninterrupted period of dériving."<ref>Guy Debord (1958) ''[http://www.cddc.vt.edu/sionline/si/definitions.html Definitions.]'' Internationale Situationniste #1 (Paris, June 1958). Translated by Ken Knabb.</ref> Wikipedia calls dérive a "technique for ... engaging in new experiences."<ref>"[http://en.wikipedia.org/wiki/D%C3%A9rive Dérive]." ''Wikipedia.'' The Wikimedia Foundation, 28 February 2014. Web.</ref>

The MOGA also describes this work as an "obvious reference" to the "British artist Richard Long".<ref name="laterworks">"[http://glitchmuseum.com/laterworks.html Later Works.]" ''MOGA.'' N.p., n.d. Web.</ref> Long is famous for artwork created through the process of walking. In 1967 Long created "A Line Made By Walking," in which he walked back and forth along a line in a field of grass until the line became visible, at which point he photographed the line.<ref name="tate-walking_line">"[http://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-p07149 A Line Made by Walking]." ''Tate.'' Tate, May 2007. Web.</ref> This piece has proved to significant; while sculptural, it also "anticipates a widespread interest in performative art practice."<ref name="tate-walking_line" /> Despite the fact that the work was both sculptural and performative, its only continued existence is as a documentary image. Following ''A Line Made By Walking,'' "Long made his international reputation during the 1970s with sculptures made as the result of epic walks, sometimes lasting many days, to remote parts of the world."<ref>"[http://www.tate.org.uk/art/artists/richard-long-1525 Richard Long]." ''Tate.'' Tate, n.d. Web.</ref>

The MOGA Catalog claims that "mashing up these two seemingly unaffiliated sources resonates with much of The artist 2.0’s glitch aesthetics." <ref>''MOGA Catalog,'' 10</ref>

== Conceptual Outcomes ==

In the same way that artists have used the ''dérive'' to engage in new experiences in physical space, Artist 2.0 uses it to engage with new experiences in digital space. The conceptual effect of ''Getting Lost'' is at least in part the same as the conceptual effect of all self-consciously digital art: it forces a questioning of how human experience is altered by this new phenomenon. By using the dérive, Artist 2.0 ''engages'' with new experience, but does not seek to understand or define it. This means that, conceptually, the piece forces a questioning of experience but does not present a concrete argument regarding it.

Because the walk depicted in the work is undirected, a dérive, the title of the piece (and the MOGA) associate it with Long's work subsequent to ''A Line Made By Walking''. Due to the way that ''Getting Lost'' is presented, however, it is perhaps more analogous to ''A Line Made By Walking'' in conceptual effect. Like Long's work, Artist 2.0's is performative, and somewhat sculptural (albeit digitally); but also like Long's work, it only exists as the ''documentation'' of an event with conceptual significance. It may be that, as a result of this, Artist 2.0's work does not embody a significant concept, so much as point to an experience which was imbued with conceptually significance. This encourages the viewer to reconsider their analogous experiences, to view them as analogous not only in structure but also in significance.

The significance of the work must also be considered in it's context as a meta-artwork. It is unclear whether this context invalidates all of the conceptual effects discussed so far, or whether it simply adds another layer of effect. The meta-art context gives the artwork significance as a commentary on the art world; whether this is incompatible with the meta-artwork having its own conceptual significance is debatable. Nevertheless, the true conceptual significance of the work may prove to be in this relationship between meta-artwork and context, as this is the most novel aspect of the piece.

== External Links ==

http://www.glitchmuseum.com/gettinglost.html

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.

== Wiki Authors ==

[[User:NicholasLoewen|Nick Loewen]]

Getting Lost

2014-10-08T06:20:47Z

NicholasLoewen: /* Art Historical References */ improved citations

''Getting Lost (The Long Dérive)'', created in 2012, is one of [[Artist 2.0]]'s more recent works. It is a remix of previous work by Artist 2.0: it juxtaposes a ''Lake District Walk'', the left channel, with a crude 3D animation created in a game design program, the right channel.<ref name="MOGA_catalog-6">''Museum of Glitch Aesthetics Catalog,'' 6</ref> The animation "playfully mimics the mobile video imagery."<ref name="MOGA_catalog-6" /> According to the [http://glitchmuseum.com/MOGA_Catalog.pdf Museum of Glitch Aesthetics Catalog] the artwork '
problematizes the relationship between walking through nature, navigating through computer-constructed worlds, and imagining new modes of augmented or (re)mixed reality." The artwork explores the relationship between experiences of the digital and physical by applying the Situationist ''dérive'' to both spaces.

As the animation attempts to mimic the scenery of the physical world and the artist's motion within it, it implies that experience of the two spaces are related, but different. It causes us to acknowledge that instinctively we predicate our experience of the digital on our experience of the physical. Because the experiences are shown to be clearly different, however, we are encouraged to reinterpret our experience of digital space as a wholly separate and novel experience which must thus be given further consideration.

{{Infobox artwork
|title = Getting Lost (The Long Dérive)
|artist = Artist 2.0
|image = Getting Lost (The Long Dérive).png
|caption =
|medium = digital video and 3D animation (two channel)
|date = 2012
|url = http://www.glitchmuseum.com/gettinglost.html
}}

== Art Historical References ==

The piece "is an obvious reference to both the British artist Richard Long and the Situationist act of drifting." This act of drifting is the "dérive" referenced in the title. In 1958 the Situationist Guy Debord, defined ''dérive'' as "a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances" and explained that it "also designates a specific uninterrupted period of dériving."<ref>Guy Debord (1958) ''[http://www.cddc.vt.edu/sionline/si/definitions.html Definitions.]'' Internationale Situationniste #1 (Paris, June 1958). Translated by Ken Knabb.</ref> Wikipedia calls dérive a "technique for ... engaging in new experiences."<ref>"[http://en.wikipedia.org/wiki/D%C3%A9rive Dérive.]" ''Wikipedia.'' The Wikimedia Foundation, 28 February 2014. Web.</ref>

The MOGA also describes this work as an "obvious reference" to the "British artist Richard Long".<ref name="laterworks">"Later Works." ''MOGA.'' N.p., n.d. Web. http://glitchmuseum.com/laterworks.html</ref> Long is famous for artwork created through the process of walking. In 1967 Long created "A Line Made By Walking," in which he walked back and forth along a line in a field of grass until the line became visible, at which point he photographed the line.<ref name="tate-walking_line">"A Line Made by Walking." ''Tate.'' Tate, May 2007. Web. http://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-p07149</ref> This piece has proved to significant; while sculptural, it also "anticipates a widespread interest in performative art practice."<ref name="tate-walking_line" /> Despite the fact that the work was both sculptural and performative, its only continued existence is as a documentary image. Following ''A Line Made By Walking,'' "Long made his international reputation during the 1970s with sculptures made as the result of epic walks, sometimes lasting many days, to remote parts of the world."<ref>"Richard Long." ''Tate.'' Tate, n.d. Web. http://www.tate.org.uk/art/artists/richard-long-1525</ref>

The MOGA Catalog claims that "mashing up these two seemingly unaffiliated sources resonates with much of The artist 2.0’s glitch aesthetics." <ref>''MOGA Catalog,'' 10</ref>

== Conceptual Outcomes ==

In the same way that artists have used the ''dérive'' to engage in new experiences in physical space, Artist 2.0 uses it to engage with new experiences in digital space. The conceptual effect of ''Getting Lost'' is at least in part the same as the conceptual effect of all self-consciously digital art: it forces a questioning of how human experience is altered by this new phenomenon. By using the dérive, Artist 2.0 ''engages'' with new experience, but does not seek to understand or define it. This means that, conceptually, the piece forces a questioning of experience but does not present a concrete argument regarding it.

Because the walk depicted in the work is undirected, a dérive, the title of the piece (and the MOGA) associate it with Long's work subsequent to ''A Line Made By Walking''. Due to the way that ''Getting Lost'' is presented, however, it is perhaps more analogous to ''A Line Made By Walking'' in conceptual effect. Like Long's work, Artist 2.0's is performative, and somewhat sculptural (albeit digitally); but also like Long's work, it only exists as the ''documentation'' of an event with conceptual significance. It may be that, as a result of this, Artist 2.0's work does not embody a significant concept, so much as point to an experience which was imbued with conceptually significance. This encourages the viewer to reconsider their analogous experiences, to view them as analogous not only in structure but also in significance.

The significance of the work must also be considered in it's context as a meta-artwork. It is unclear whether this context invalidates all of the conceptual effects discussed so far, or whether it simply adds another layer of effect. The meta-art context gives the artwork significance as a commentary on the art world; whether this is incompatible with the meta-artwork having its own conceptual significance is debatable. Nevertheless, the true conceptual significance of the work may prove to be in this relationship between meta-artwork and context, as this is the most novel aspect of the piece.

== External Links ==

http://www.glitchmuseum.com/gettinglost.html

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.

== Wiki Authors ==

[[User:NicholasLoewen|Nick Loewen]]

Getting Lost

2014-10-08T05:52:47Z

NicholasLoewen: Improved citations.

''Getting Lost (The Long Dérive)'', created in 2012, is one of [[Artist 2.0]]'s more recent works. It is a remix of previous work by Artist 2.0: it juxtaposes a ''Lake District Walk'', the left channel, with a crude 3D animation created in a game design program, the right channel.<ref name="MOGA_catalog-6">''Museum of Glitch Aesthetics Catalog,'' 6</ref> The animation "playfully mimics the mobile video imagery."<ref name="MOGA_catalog-6" /> According to the [http://glitchmuseum.com/MOGA_Catalog.pdf Museum of Glitch Aesthetics Catalog] the artwork '
problematizes the relationship between walking through nature, navigating through computer-constructed worlds, and imagining new modes of augmented or (re)mixed reality." The artwork explores the relationship between experiences of the digital and physical by applying the Situationist ''dérive'' to both spaces.

As the animation attempts to mimic the scenery of the physical world and the artist's motion within it, it implies that experience of the two spaces are related, but different. It causes us to acknowledge that instinctively we predicate our experience of the digital on our experience of the physical. Because the experiences are shown to be clearly different, however, we are encouraged to reinterpret our experience of digital space as a wholly separate and novel experience which must thus be given further consideration.

{{Infobox artwork
|title = Getting Lost (The Long Dérive)
|artist = Artist 2.0
|image = Getting Lost (The Long Dérive).png
|caption =
|medium = digital video and 3D animation (two channel)
|date = 2012
|url = http://www.glitchmuseum.com/gettinglost.html
}}

== Art Historical References ==

The piece "is an obvious reference to both the British artist Richard Long and the Situationist act of drifting." This act of drifting is the "dérive" referenced in the title. In 1958 the Situationist Guy Debord, defined ''dérive'' as "a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances" and explained that it "also designates a specific uninterrupted period of dériving."<ref>"Definitions." ''situationist international online.'' N.p., n.d. Web. http://www.cddc.vt.edu/sionline/si/definitions.html</ref> Wikipedia calls dérive a "technique for ... engaging in new experiences."<ref>"Dérive." ''Wikipedia.'' The Wikimedia Foundation, 28 February 2014. Web. http://en.wikipedia.org/wiki/D%C3%A9rive</ref>

The MOGA also describes this work as an "obvious reference" to the "British artist Richard Long".<ref name="laterworks">"Later Works." ''MOGA.'' N.p., n.d. Web. http://glitchmuseum.com/laterworks.html</ref> Long is famous for artwork created through the process of walking. In 1967 Long created "A Line Made By Walking," in which he walked back and forth along a line in a field of grass until the line became visible, at which point he photographed the line.<ref name="tate-walking_line">"A Line Made by Walking." ''Tate.'' Tate, May 2007. Web. http://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-p07149</ref> This piece has proved to significant; while sculptural, it also "anticipates a widespread interest in performative art practice."<ref name="tate-walking_line" /> Despite the fact that the work was both sculptural and performative, its only continued existence is as a documentary image. Following ''A Line Made By Walking,'' "Long made his international reputation during the 1970s with sculptures made as the result of epic walks, sometimes lasting many days, to remote parts of the world."<ref>"Richard Long." ''Tate.'' Tate, n.d. Web. http://www.tate.org.uk/art/artists/richard-long-1525</ref>

The MOGA Catalog claims that "mashing up these two seemingly unaffiliated sources resonates with much of The artist 2.0’s glitch aesthetics." <ref>''MOGA Catalog,'' 10</ref>

== Conceptual Outcomes ==

In the same way that artists have used the ''dérive'' to engage in new experiences in physical space, Artist 2.0 uses it to engage with new experiences in digital space. The conceptual effect of ''Getting Lost'' is at least in part the same as the conceptual effect of all self-consciously digital art: it forces a questioning of how human experience is altered by this new phenomenon. By using the dérive, Artist 2.0 ''engages'' with new experience, but does not seek to understand or define it. This means that, conceptually, the piece forces a questioning of experience but does not present a concrete argument regarding it.

Because the walk depicted in the work is undirected, a dérive, the title of the piece (and the MOGA) associate it with Long's work subsequent to ''A Line Made By Walking''. Due to the way that ''Getting Lost'' is presented, however, it is perhaps more analogous to ''A Line Made By Walking'' in conceptual effect. Like Long's work, Artist 2.0's is performative, and somewhat sculptural (albeit digitally); but also like Long's work, it only exists as the ''documentation'' of an event with conceptual significance. It may be that, as a result of this, Artist 2.0's work does not embody a significant concept, so much as point to an experience which was imbued with conceptually significance. This encourages the viewer to reconsider their analogous experiences, to view them as analogous not only in structure but also in significance.

The significance of the work must also be considered in it's context as a meta-artwork. It is unclear whether this context invalidates all of the conceptual effects discussed so far, or whether it simply adds another layer of effect. The meta-art context gives the artwork significance as a commentary on the art world; whether this is incompatible with the meta-artwork having its own conceptual significance is debatable. Nevertheless, the true conceptual significance of the work may prove to be in this relationship between meta-artwork and context, as this is the most novel aspect of the piece.

== External Links ==

http://www.glitchmuseum.com/gettinglost.html

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.

== Wiki Authors ==

[[User:NicholasLoewen|Nick Loewen]]

Getting Lost

2014-10-08T05:51:32Z

NicholasLoewen: Improved citations.

''Getting Lost (The Long Dérive)'', created in 2012, is one of [[Artist 2.0]]'s more recent works. It is a remix of previous work by Artist 2.0: it juxtaposes a ''Lake District Walk'', the left channel, with a crude 3D animation created in a game design program, the right channel.<ref>''Museum of Glitch Aesthetics Catalog,'' 6</ref> The animation "playfully mimics the mobile video imagery."<ref>''MOGA Catalog,'' 6</ref> According to the [http://glitchmuseum.com/MOGA_Catalog.pdf Museum of Glitch Aesthetics Catalog] the artwork '
problematizes the relationship between walking through nature, navigating through computer-constructed worlds, and imagining new modes of augmented or (re)mixed reality." The artwork explores the relationship between experiences of the digital and physical by applying the Situationist ''dérive'' to both spaces.

As the animation attempts to mimic the scenery of the physical world and the artist's motion within it, it implies that experience of the two spaces are related, but different. It causes us to acknowledge that instinctively we predicate our experience of the digital on our experience of the physical. Because the experiences are shown to be clearly different, however, we are encouraged to reinterpret our experience of digital space as a wholly separate and novel experience which must thus be given further consideration.

{{Infobox artwork
|title = Getting Lost (The Long Dérive)
|artist = Artist 2.0
|image = Getting Lost (The Long Dérive).png
|caption =
|medium = digital video and 3D animation (two channel)
|date = 2012
|url = http://www.glitchmuseum.com/gettinglost.html
}}

== Art Historical References ==

The piece "is an obvious reference to both the British artist Richard Long and the Situationist act of drifting." This act of drifting is the "dérive" referenced in the title. In 1958 the Situationist Guy Debord, defined ''dérive'' as "a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances" and explained that it "also designates a specific uninterrupted period of dériving."<ref>"Definitions." ''situationist international online.'' N.p., n.d. Web. http://www.cddc.vt.edu/sionline/si/definitions.html</ref> Wikipedia calls dérive a "technique for ... engaging in new experiences."<ref>"Dérive." ''Wikipedia.'' The Wikimedia Foundation, 28 February 2014. Web. http://en.wikipedia.org/wiki/D%C3%A9rive</ref>

The MOGA also describes this work as an "obvious reference" to the "British artist Richard Long".<ref name="laterworks">"Later Works." ''MOGA.'' N.p., n.d. Web. http://glitchmuseum.com/laterworks.html</ref> Long is famous for artwork created through the process of walking. In 1967 Long created "A Line Made By Walking," in which he walked back and forth along a line in a field of grass until the line became visible, at which point he photographed the line.<ref name="tate-walking_line">"A Line Made by Walking." ''Tate.'' Tate, May 2007. Web. http://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-p07149</ref> This piece has proved to significant; while sculptural, it also "anticipates a widespread interest in performative art practice."<ref name="tate-walking_line" /> Despite the fact that the work was both sculptural and performative, its only continued existence is as a documentary image. Following ''A Line Made By Walking,'' "Long made his international reputation during the 1970s with sculptures made as the result of epic walks, sometimes lasting many days, to remote parts of the world."<ref>"Richard Long." ''Tate.'' Tate, n.d. Web. http://www.tate.org.uk/art/artists/richard-long-1525</ref>

The MOGA Catalog claims that "mashing up these two seemingly unaffiliated sources resonates with much of The artist 2.0’s glitch aesthetics." <ref>''MOGA Catalog,'' 10</ref>

== Conceptual Outcomes ==

In the same way that artists have used the ''dérive'' to engage in new experiences in physical space, Artist 2.0 uses it to engage with new experiences in digital space. The conceptual effect of ''Getting Lost'' is at least in part the same as the conceptual effect of all self-consciously digital art: it forces a questioning of how human experience is altered by this new phenomenon. By using the dérive, Artist 2.0 ''engages'' with new experience, but does not seek to understand or define it. This means that, conceptually, the piece forces a questioning of experience but does not present a concrete argument regarding it.

Because the walk depicted in the work is undirected, a dérive, the title of the piece (and the MOGA) associate it with Long's work subsequent to ''A Line Made By Walking''. Due to the way that ''Getting Lost'' is presented, however, it is perhaps more analogous to ''A Line Made By Walking'' in conceptual effect. Like Long's work, Artist 2.0's is performative, and somewhat sculptural (albeit digitally); but also like Long's work, it only exists as the ''documentation'' of an event with conceptual significance. It may be that, as a result of this, Artist 2.0's work does not embody a significant concept, so much as point to an experience which was imbued with conceptually significance. This encourages the viewer to reconsider their analogous experiences, to view them as analogous not only in structure but also in significance.

The significance of the work must also be considered in it's context as a meta-artwork. It is unclear whether this context invalidates all of the conceptual effects discussed so far, or whether it simply adds another layer of effect. The meta-art context gives the artwork significance as a commentary on the art world; whether this is incompatible with the meta-artwork having its own conceptual significance is debatable. Nevertheless, the true conceptual significance of the work may prove to be in this relationship between meta-artwork and context, as this is the most novel aspect of the piece.

== External Links ==

http://www.glitchmuseum.com/gettinglost.html

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.

== Wiki Authors ==

[[User:NicholasLoewen|Nick Loewen]]

Getting Lost

2014-10-08T05:42:09Z

NicholasLoewen: /* Wiki Authors */ Changed link.

''Getting Lost (The Long Dérive)'', created in 2012, is one of [[Artist 2.0]]'s more recent works. It is a remix of previous work by Artist 2.0: it juxtaposes a ''Lake District Walk'', the left channel, with a crude 3D animation created in a game design program, the right channel.<ref name="MOGA_catalog">http://glitchmuseum.com/MOGA_Catalog.pdf</ref> The animation "playfully mimics the mobile video imagery."<ref name="MOGA_catalog" /> According to the [http://glitchmuseum.com/MOGA_Catalog.pdf MOGA Catalog] the artwork '
problematizes the relationship between walking through nature, navigating through computer-constructed worlds, and imagining new modes of augmented or (re)mixed reality." The artwork explores the relationship between experiences of the digital and physical by applying the Situationist ''dérive'' to both spaces.

As the animation attempts to mimic the scenery of the physical world and the artist's motion within it, it implies that experience of the two spaces are related, but different. It causes us to acknowledge that instinctively we predicate our experience of the digital on our experience of the physical. Because the experiences are shown to be clearly different, however, we are encouraged to reinterpret our experience of digital space as a wholly separate and novel experience which must thus be given further consideration.

{{Infobox artwork
|title = Getting Lost (The Long Dérive)
|artist = Artist 2.0
|image = Getting Lost (The Long Dérive).png
|caption =
|medium = digital video and 3D animation (two channel)
|date = 2012
|url = http://www.glitchmuseum.com/gettinglost.html
}}

== Art Historical References ==

The piece "is an obvious reference to both the British artist Richard Long and the Situationist act of drifting." This act of drifting is the "dérive" referenced in the title. In 1958 the Situationist Guy Debord, defined ''dérive'' as "a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances" and explained that it "also designates a specific uninterrupted period of dériving."<ref>http://www.cddc.vt.edu/sionline/si/definitions.html</ref> Wikipedia calls dérive a "technique for ... engaging in new experiences."<ref>http://en.wikipedia.org/wiki/D%C3%A9rive</ref>

The MOGA also describes this work as an "obvious reference" to the "British artist Richard Long".<ref name="laterworks">http://glitchmuseum.com/laterworks.html</ref> Long is famous for artwork created through the process of walking. In 1967 Long created "A Line Made By Walking," in which he walked back and forth along a line in a field of grass until the line became visible, at which point he photographed the line.<ref name="tate-walking_line">http://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-p07149</ref> This piece has proved to significant; while sculptural, it also "anticipates a widespread interest in performative art practice."<ref name="tate-walking_line" /> Despite the fact that the work was both sculptural and performative, its only continued existence is as a documentary image. Following ''A Line Made By Walking,'' "Long made his international reputation during the 1970s with sculptures made as the result of epic walks, sometimes lasting many days, to remote parts of the world."<ref>http://www.tate.org.uk/art/artists/richard-long-1525</ref>

The MOGA Catalog claims that "mashing up these two seemingly unaffiliated sources resonates with much of The artist 2.0’s glitch aesthetics." <ref name="MOGA_catalog" />

== Conceptual Outcomes ==

In the same way that artists have used the ''dérive'' to engage in new experiences in physical space, Artist 2.0 uses it to engage with new experiences in digital space. The conceptual effect of ''Getting Lost'' is at least in part the same as the conceptual effect of all self-consciously digital art: it forces a questioning of how human experience is altered by this new phenomenon. By using the dérive, Artist 2.0 ''engages'' with new experience, but does not seek to understand or define it. This means that, conceptually, the piece forces a questioning of experience but does not present a concrete argument regarding it.

Because the walk depicted in the work is undirected, a dérive, the title of the piece (and the MOGA) associate it with Long's work subsequent to ''A Line Made By Walking''. Due to the way that ''Getting Lost'' is presented, however, it is perhaps more analogous to ''A Line Made By Walking'' in conceptual effect. Like Long's work, Artist 2.0's is performative, and somewhat sculptural (albeit digitally); but also like Long's work, it only exists as the ''documentation'' of an event with conceptual significance. It may be that, as a result of this, Artist 2.0's work does not embody a significant concept, so much as point to an experience which was imbued with conceptually significance. This encourages the viewer to reconsider their analogous experiences, to view them as analogous not only in structure but also in significance.

The significance of the work must also be considered in it's context as a meta-artwork. It is unclear whether this context invalidates all of the conceptual effects discussed so far, or whether it simply adds another layer of effect. The meta-art context gives the artwork significance as a commentary on the art world; whether this is incompatible with the meta-artwork having its own conceptual significance is debatable. Nevertheless, the true conceptual significance of the work may prove to be in this relationship between meta-artwork and context, as this is the most novel aspect of the piece.

== External Links ==

http://www.glitchmuseum.com/gettinglost.html

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.

== Wiki Authors ==

[[User:NicholasLoewen|Nick Loewen]]

User:NicholasLoewen

2014-10-08T05:41:06Z

NicholasLoewen: created

Nicholas Loewen is a BFA student.

Getting Lost

2014-10-08T05:40:18Z

NicholasLoewen: Changed approach to References, added Authors.

''Getting Lost (The Long Dérive)'', created in 2012, is one of [[Artist 2.0]]'s more recent works. It is a remix of previous work by Artist 2.0: it juxtaposes a ''Lake District Walk'', the left channel, with a crude 3D animation created in a game design program, the right channel.<ref name="MOGA_catalog">http://glitchmuseum.com/MOGA_Catalog.pdf</ref> The animation "playfully mimics the mobile video imagery."<ref name="MOGA_catalog" /> According to the [http://glitchmuseum.com/MOGA_Catalog.pdf MOGA Catalog] the artwork '
problematizes the relationship between walking through nature, navigating through computer-constructed worlds, and imagining new modes of augmented or (re)mixed reality." The artwork explores the relationship between experiences of the digital and physical by applying the Situationist ''dérive'' to both spaces.

As the animation attempts to mimic the scenery of the physical world and the artist's motion within it, it implies that experience of the two spaces are related, but different. It causes us to acknowledge that instinctively we predicate our experience of the digital on our experience of the physical. Because the experiences are shown to be clearly different, however, we are encouraged to reinterpret our experience of digital space as a wholly separate and novel experience which must thus be given further consideration.

{{Infobox artwork
|title = Getting Lost (The Long Dérive)
|artist = Artist 2.0
|image = Getting Lost (The Long Dérive).png
|caption =
|medium = digital video and 3D animation (two channel)
|date = 2012
|url = http://www.glitchmuseum.com/gettinglost.html
}}

== Art Historical References ==

The piece "is an obvious reference to both the British artist Richard Long and the Situationist act of drifting." This act of drifting is the "dérive" referenced in the title. In 1958 the Situationist Guy Debord, defined ''dérive'' as "a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances" and explained that it "also designates a specific uninterrupted period of dériving."<ref>http://www.cddc.vt.edu/sionline/si/definitions.html</ref> Wikipedia calls dérive a "technique for ... engaging in new experiences."<ref>http://en.wikipedia.org/wiki/D%C3%A9rive</ref>

The MOGA also describes this work as an "obvious reference" to the "British artist Richard Long".<ref name="laterworks">http://glitchmuseum.com/laterworks.html</ref> Long is famous for artwork created through the process of walking. In 1967 Long created "A Line Made By Walking," in which he walked back and forth along a line in a field of grass until the line became visible, at which point he photographed the line.<ref name="tate-walking_line">http://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-p07149</ref> This piece has proved to significant; while sculptural, it also "anticipates a widespread interest in performative art practice."<ref name="tate-walking_line" /> Despite the fact that the work was both sculptural and performative, its only continued existence is as a documentary image. Following ''A Line Made By Walking,'' "Long made his international reputation during the 1970s with sculptures made as the result of epic walks, sometimes lasting many days, to remote parts of the world."<ref>http://www.tate.org.uk/art/artists/richard-long-1525</ref>

The MOGA Catalog claims that "mashing up these two seemingly unaffiliated sources resonates with much of The artist 2.0’s glitch aesthetics." <ref name="MOGA_catalog" />

== Conceptual Outcomes ==

In the same way that artists have used the ''dérive'' to engage in new experiences in physical space, Artist 2.0 uses it to engage with new experiences in digital space. The conceptual effect of ''Getting Lost'' is at least in part the same as the conceptual effect of all self-consciously digital art: it forces a questioning of how human experience is altered by this new phenomenon. By using the dérive, Artist 2.0 ''engages'' with new experience, but does not seek to understand or define it. This means that, conceptually, the piece forces a questioning of experience but does not present a concrete argument regarding it.

Because the walk depicted in the work is undirected, a dérive, the title of the piece (and the MOGA) associate it with Long's work subsequent to ''A Line Made By Walking''. Due to the way that ''Getting Lost'' is presented, however, it is perhaps more analogous to ''A Line Made By Walking'' in conceptual effect. Like Long's work, Artist 2.0's is performative, and somewhat sculptural (albeit digitally); but also like Long's work, it only exists as the ''documentation'' of an event with conceptual significance. It may be that, as a result of this, Artist 2.0's work does not embody a significant concept, so much as point to an experience which was imbued with conceptually significance. This encourages the viewer to reconsider their analogous experiences, to view them as analogous not only in structure but also in significance.

The significance of the work must also be considered in it's context as a meta-artwork. It is unclear whether this context invalidates all of the conceptual effects discussed so far, or whether it simply adds another layer of effect. The meta-art context gives the artwork significance as a commentary on the art world; whether this is incompatible with the meta-artwork having its own conceptual significance is debatable. Nevertheless, the true conceptual significance of the work may prove to be in this relationship between meta-artwork and context, as this is the most novel aspect of the piece.

== External Links ==

http://www.glitchmuseum.com/gettinglost.html

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.

== Wiki Authors ==

[[User:NicholasLoewen]]

Artist 2.0

2014-10-08T05:36:37Z

NicholasLoewen: /* The Comedy of Errors */ Improved citation.

The Artist 2.0 and the [http://www.glitchmuseum.com Museum of Glitch Aesthetics] are, respectively, character and context in the transmedia narrative directed by Mark Amerika. The Artist 2.0 is a "living fiction role-playing itself as a digital flux persona" legitimized through the Museum of Glitch Aesthetics, where both artist and museum inform each other as they are inextricably linked.<ref>''Museum of Glitch Aesthetics Catalog'', 1</ref>

{{Infobox artwork
|title = Lake Como Remix
|artist = Artist 2.0
|image = Lake Como Remix (undated).jpg
|caption =
|medium = Digital Video
|date = unknown
|url = http://glitchmuseum.com/lakecomoremix.html
}}

==The Artist 2.0 Persona==
Through the Museum of Glitch Aesthetics, the fictional lifeline and evolving art practice of the Artist 2.0 is simultaneously created and presented to viewers, in such a way, that language and institutional formatting lend anonymity and pseudo-legitimacy to the artist.<ref>http://elmcip.net/critical-writing/artists-personas-mediums-instruments-envisioning-visionary</ref> As such, the Artist 2.0 brings focus to the value-producing forces in art making; curators, art historians, media critics, and directors, thus acting as a social investigation of the way humans facilitate information streams, through social media culture, in constructing their online "net" identities.<ref>http://a2ru.org/knowledgebase/museum-glitch-aesthetics/</ref><ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> Ultimately though, "'the Artist 2.0' persona was created to indicate how an emerging form of art making associated with social media practices and an emerging new aesthetic are simultaneously challenging conventional art world exhibition contexts as well as embedding themselves in the art historical canon."<ref>''MOGA Catalog'', 1</ref>

==Aesthetics==
The Artist 2.0 facilitates the glitch aesthetic, that is, new media technology employed in the posthumous production and manipulation of data. The Artist 2.0 uses information technology and network-mediated art production that spans across a diverse collection of practices in art making. Such forms includes digital photography, animation, Net art, digital video, live performance, installation, electronic music and spoken word art, mobile phone films, 3D game design, and conceptual writing.<ref>''MOGA Catalog'', 2</ref> Such types and processes of data manipulation lend to the deconstructive and reconstructive aesthetic duality of the Artist 2.0, where data is found and captured, and then reconstructed to propagate meaning through the process of its deconstruction and manipulation. It is this glitch aesthetic that produces theme and critical social dialogue from the developing perspective of new media technology and data.

== Conceptual History ==

=== The Early Years ===

''The Early Years'' is the first phase of The Artist 2.0's work. Beginning in 2005, the first documented piece to exemplify his glitch aesthetic was ''Pixelmash''. Displayed as a digital video projection in the Winter Gardens building in Morecambe, United Kingdom, ''Pixelmash'' was part of an exhibition by local artists in the Net art scene. This installation was captured on an early mobile phone, resulting in a poor quality video. The documentation by mobile phone again appears in his .''gif(t) economy'' series, in which he appropriates images from a variety of sources such as film, painting, and pre-existing images on the internet. The glitchy images and stills were created into short, quick animated GIFs, and distributed online.

=== Art School Studies ===

In this period, during which "historians believe that The Artist 2.0 ... went to school in the Northwest of England, perhaps at the University of Lancaster,"<ref name="artschool">"Art School Studies." ''MOGA.'' N.p, n.d. Web. http://glitchmuseum.com/artschoolstudies.html</ref> he was influenced by the natural and built environment. This led to an increasingly performative practice. Despite being inspired by the environment around the artist, the work is not tied to physical or specific space. The medium of mobile phone video, used for ''Mobile Beach'', ''Mobile Conduction'', ''Power'', and ''Deep Interior Landscape'', while recording a physical space, comes across as a rejection of specific physicality. The ''Glitch Aesthetics Blog'', a piece which exists only online and which features entirely computer-produced images, further removes the significance of physical space. In his subsequent work, the artist continues to explore this tension between the relationship between an emotional connection to physical space and the spatially non-specific nature of digital experience.

=== Lake District Walks ===

{{Infobox artwork
|title = Lake District Walks: Code Mosh
|artist = The Artist 2.0
|image = Lake District Walks Code Mosh.png
|caption =
|medium = Footage from Nokia N93
|date = 2007-2008
|url = http://www.glitchmuseum.com/ldw1.html}}

The Artist 2.0’s Lake District Walks (2007-2008) video series explores adventurous hikes in correlation to the “nature of technology and the technological apprehension of nature as an image”. <ref>''MOGA Catalog'', 6 </ref> The series depicts a variety of viewing experiences through the intentional layers of glitch effects post produced after the raw “walkthrough” footage

=== Google-Assisted Living ===

''Google-Assisted Living'' consists of the three titles: ''Cinecriture'', ''Lake Como Remix'' and, ''8-Bit Heaven''. What makes these works different from the rest is that it was created using Google Earth and Google Street Viewing Software. It is said that this particular series is The Artist’s 2.0’s “digital lifestyle practice and “as derivative of content already explored by Situationists.”<ref>''MOGA Catalog'', 7</ref>
The Artist 2.0 plays with the glitch aesthetics provided by Google Street View and Earth which The Artist 2.0 believes is challenging the “false representations of high-definition.”<ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> This Google-assisted view of landscape is reminiscent of his handheld phone video art Mobile Conduction, in which was the experimentation with handheld videography, but now taken further to expose glitches and abstract forms of pixelated scenery. 8-bit Heaven was released as part of an April Fool’s Day joke that eventually became serious art<ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> which allowed The Artist 2.0 to expand aesthetic investigations into landscapes and city life.

=== HD Streaming ===

{{Infobox artwork
|title = The Flow of Data Captured in an Idyllic Scene
|artist = Artist 2.0
|image = The Flow of Data Captured in an Idyllic Scene.jpg
|caption =
|medium = High Definition Video
|date = unknown
|url = http://glitchmuseum.com/theflowofdatacaptured.html
}}

''HD Streaming'' is a four part HD video series; ''Falls from Grace'', ''[[The Flow of Data Captured in an Idyllic Scene]]'', ''More Data Under the Bridge'', ''The Water of Information'', depicting natural settings being captured and streamed through the digital lens, or rather, they capture the effect of digitization. Locations greatly vary across the globe, and dates unknown.

''HD Streaming'' is in effect, a play on words where ''streaming'' is defined as the act of streaming video, yet is closely referenced to the noun ''stream'', flowing water. Thus, it follows that we see in this series, a localized datamoshing, or "glitching" effect, focused in and around, but not restricted to, the areas where there is flowing water, as a means to create meaning between the ideas of flowing water and flowing data<ref>''MOGA Catalog'', 07</ref> Conceptually, through ''HD Streaming'', Artist 2.0 is simultaneously referencing and investigating the problematic effect of the digital lens on social experience and our complex relation to technology. The interplay between the meanings of ''streaming'' expresses the digitization of nature, the normalizing effect that media sharing on the net over time has had on perceptions. Through this socially perpetual normalizing behaviour, Artist 2.0 means to address the concern of blurred boundaries between the perception of natural and the perception of artificial, that is; data, pixels, and byte artifacts.

In reference to the series, Artist 2.0 touches on the personal influences and themes involved:

"''When I see a beautiful scene in front of me, I almost can't believe it. I want to immerse myself in it the way I would a novel or film. But to interrupt my gaga eyes with the purely technical need to capture these environments as streaming images that I then feel compelled to share with my distributed network -- that's when my relationship to nature, to what is seen, becomes problematized. It becomes less about what the artist sees per se and more about what it means to see the way digital devices see, and to respond to ones surroundings with a supplementary machinic vision connected to the network of others I am sharing my life with. Sometimes I call these works 'Site Unseen'.''"<ref>http://professorvj.blogspot.ca/2012/08/the-conceptual-artist-20.html</ref>

=== The Comedy of Errors ===

''The Comedy of Errors'' is an "album length work of comedic sound art."<ref>"The Comedy of Errors." ''MOGA'. N.p., n.d. Web. 'http://glitchmuseum.com/thecomedyoferrors.html</ref> Of Artist 2.0's artworks, this piece is the least conceptually related to the others. It displays "glitch aesthetics" but it has no visual component, and does not deal directly with notions of physical space, which is a common theme in Artist 2.0's other work. This piece is more closely related to the artwork that the Artist 2.0 mythology makes up than to the meta-artwork attributed to Artist 2.0. This is shown clearly near the beginning of the recording, when the comedian says "No no really, don't commit me — that's the siren song of every ''avant garde'' artist ... let's face it, nobody wants to be institutionalized. Whether it's work, school, or prison, the bottom line is always the same: get me the fuck outta here!" In terms of conceptual history, ''The Comedy of Errors'' does not relate to Artist 2.0's works, but it can be seen as a precursor to the overall Artist 2.0 project.

=== Later Works ===

{{Infobox artwork
|title = Getting Lost (The Long Dérive)
|artist = Artist 2.0
|image = Getting Lost (The Long Dérive).png
|caption =
|medium = digital video and 3D animation (two channel)
|date = 2012
|url = http://www.glitchmuseum.com/gettinglost.html
}}

Artist 2.0's 'Later Works', both from 2012, are [[Getting Lost|''Getting Lost (The Long Dérive)'']] and ''[[WeRMediumzGoMetaOn-U]]''. These two pieces continue earlier explorations of Artist 2.0's; ''Getting Lost'' is a new take on the ''Lake District Walk'', and ''WeRMediumzGoMetaOn-U'' appears to be "associated with both the Google-Assisted Living series and some of the earlier experiments with both mobile videography and experimental forms of text."<ref name="laterworks">"Later Works." ''MOGA.'' N.p., n.d. Web. http://glitchmuseum.com/laterworks.html</ref>

These works are also both remixes. ''Getting Lost'' remixes Artist 2.0's own video with new imagery created with a 3D game engine.<ref name="laterworks" /> ''WeRMediumzGoMetaOn-U'' is a "remixological inhabitation of the last twelve minutes of [http://en.wikipedia.org/wiki/La_Jet%C3%A9e [Chris<nowiki>]</nowiki> Marker's La Jetée]."<ref>"MarkerAmerique in Paris and Honolulu." ''Professor VJ.'' N.p., 26 November 2013. Web. http://professorvj.blogspot.ca/2013/11/markeramerique-in-paris-and-honolulu.html</ref>

These 'Later Works' examine the way we experience digital media and digital space through analogy to physical space. According to the [http://glitchmuseum.com/MOGA_Catalog.pdf|MOGA Catalogue], ''Getting Lost'' presents the artist as a "virtual flanéur who traverses the experimentally rendered 3D game environment" <ref>''MOGA Catalog'', 16</ref>, and ''WeRMediumzGoMetaOn-U'' depicts a 'network of artist-mediums ... searching for ''a more dispersed, out of body and autohallucinatory revalation.''<ref>''MOGA Catalog'', 17</ref> Digital technology presents new forms of experience which are, even at their most recognizable, fundamentally from any previous human experience. Artist 2.0's later works point out that as we begin to experiment with new experiences, we naturally relate to them and discuss them through analogy to familiar experiences; in this case, we relate the digital to the physical. Nevertheless, a complex give-and-take is soon established; increasingly, we begin to expect digital experience to offer a "higher realm of experience ... [that] is idyllic, utopian, and oftentimes over-aestheticized" and imagine our idealistic utopias as involving digital experience.<ref>''MOGA Catalog'', 17</ref>

To some extent this is all nonsense; however, when presented both with the Artist 2.0's artwork and the surrounding theorization that creates Artist 2.0's mythology, we are forced to theorize ourselves about the effects of both. Thus, the conceptual impact of the work is to force the viewer to consider the concept of the meta-artwork, how its validity is effected by its status ''as'' a meta-artwork, and how these maps analogously onto digital/physical experiences and art world structures that are less contrived.

== List of Artworks ==

* '''The Early Years'''
** Verses Versus Versions
** Pixelmash
** [[.gif(t) economy series]]
* '''Art School Studies'''
** Glitch Aesthetics Blog
** Mobile Beach
** Mobile Conduction
** Power
** Deep Interior Landscape
* '''Lake District Walks'''
** Augmented Video Reality
** [[Code Mosh]]
** Raw Source
** Glitch Lake
* '''Google-Assisted Living'''
** Cinecriture
** [[Lake Como Remix]]
** 8-Bit Heaven
* '''HD Streaming'''
** Falls from Grace
** [[The Flow of Data Captured in an Idyllic Scene]]
** More Data Under the Bridge
** The Water of Information
* '''The Comedy of Errors'''
** The Comedy of Errors
* '''Later Works'''
** [[Getting Lost]]
** WeRMediumzGoMetaOn-U

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.

Artist 2.0

2014-10-08T05:35:46Z

NicholasLoewen: /* Later Works */ Improved citations.

The Artist 2.0 and the [http://www.glitchmuseum.com Museum of Glitch Aesthetics] are, respectively, character and context in the transmedia narrative directed by Mark Amerika. The Artist 2.0 is a "living fiction role-playing itself as a digital flux persona" legitimized through the Museum of Glitch Aesthetics, where both artist and museum inform each other as they are inextricably linked.<ref>''Museum of Glitch Aesthetics Catalog'', 1</ref>

{{Infobox artwork
|title = Lake Como Remix
|artist = Artist 2.0
|image = Lake Como Remix (undated).jpg
|caption =
|medium = Digital Video
|date = unknown
|url = http://glitchmuseum.com/lakecomoremix.html
}}

==The Artist 2.0 Persona==
Through the Museum of Glitch Aesthetics, the fictional lifeline and evolving art practice of the Artist 2.0 is simultaneously created and presented to viewers, in such a way, that language and institutional formatting lend anonymity and pseudo-legitimacy to the artist.<ref>http://elmcip.net/critical-writing/artists-personas-mediums-instruments-envisioning-visionary</ref> As such, the Artist 2.0 brings focus to the value-producing forces in art making; curators, art historians, media critics, and directors, thus acting as a social investigation of the way humans facilitate information streams, through social media culture, in constructing their online "net" identities.<ref>http://a2ru.org/knowledgebase/museum-glitch-aesthetics/</ref><ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> Ultimately though, "'the Artist 2.0' persona was created to indicate how an emerging form of art making associated with social media practices and an emerging new aesthetic are simultaneously challenging conventional art world exhibition contexts as well as embedding themselves in the art historical canon."<ref>''MOGA Catalog'', 1</ref>

==Aesthetics==
The Artist 2.0 facilitates the glitch aesthetic, that is, new media technology employed in the posthumous production and manipulation of data. The Artist 2.0 uses information technology and network-mediated art production that spans across a diverse collection of practices in art making. Such forms includes digital photography, animation, Net art, digital video, live performance, installation, electronic music and spoken word art, mobile phone films, 3D game design, and conceptual writing.<ref>''MOGA Catalog'', 2</ref> Such types and processes of data manipulation lend to the deconstructive and reconstructive aesthetic duality of the Artist 2.0, where data is found and captured, and then reconstructed to propagate meaning through the process of its deconstruction and manipulation. It is this glitch aesthetic that produces theme and critical social dialogue from the developing perspective of new media technology and data.

== Conceptual History ==

=== The Early Years ===

''The Early Years'' is the first phase of The Artist 2.0's work. Beginning in 2005, the first documented piece to exemplify his glitch aesthetic was ''Pixelmash''. Displayed as a digital video projection in the Winter Gardens building in Morecambe, United Kingdom, ''Pixelmash'' was part of an exhibition by local artists in the Net art scene. This installation was captured on an early mobile phone, resulting in a poor quality video. The documentation by mobile phone again appears in his .''gif(t) economy'' series, in which he appropriates images from a variety of sources such as film, painting, and pre-existing images on the internet. The glitchy images and stills were created into short, quick animated GIFs, and distributed online.

=== Art School Studies ===

In this period, during which "historians believe that The Artist 2.0 ... went to school in the Northwest of England, perhaps at the University of Lancaster,"<ref name="artschool">"Art School Studies." ''MOGA.'' N.p, n.d. Web. http://glitchmuseum.com/artschoolstudies.html</ref> he was influenced by the natural and built environment. This led to an increasingly performative practice. Despite being inspired by the environment around the artist, the work is not tied to physical or specific space. The medium of mobile phone video, used for ''Mobile Beach'', ''Mobile Conduction'', ''Power'', and ''Deep Interior Landscape'', while recording a physical space, comes across as a rejection of specific physicality. The ''Glitch Aesthetics Blog'', a piece which exists only online and which features entirely computer-produced images, further removes the significance of physical space. In his subsequent work, the artist continues to explore this tension between the relationship between an emotional connection to physical space and the spatially non-specific nature of digital experience.

=== Lake District Walks ===

{{Infobox artwork
|title = Lake District Walks: Code Mosh
|artist = The Artist 2.0
|image = Lake District Walks Code Mosh.png
|caption =
|medium = Footage from Nokia N93
|date = 2007-2008
|url = http://www.glitchmuseum.com/ldw1.html}}

The Artist 2.0’s Lake District Walks (2007-2008) video series explores adventurous hikes in correlation to the “nature of technology and the technological apprehension of nature as an image”. <ref>''MOGA Catalog'', 6 </ref> The series depicts a variety of viewing experiences through the intentional layers of glitch effects post produced after the raw “walkthrough” footage

=== Google-Assisted Living ===

''Google-Assisted Living'' consists of the three titles: ''Cinecriture'', ''Lake Como Remix'' and, ''8-Bit Heaven''. What makes these works different from the rest is that it was created using Google Earth and Google Street Viewing Software. It is said that this particular series is The Artist’s 2.0’s “digital lifestyle practice and “as derivative of content already explored by Situationists.”<ref>''MOGA Catalog'', 7</ref>
The Artist 2.0 plays with the glitch aesthetics provided by Google Street View and Earth which The Artist 2.0 believes is challenging the “false representations of high-definition.”<ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> This Google-assisted view of landscape is reminiscent of his handheld phone video art Mobile Conduction, in which was the experimentation with handheld videography, but now taken further to expose glitches and abstract forms of pixelated scenery. 8-bit Heaven was released as part of an April Fool’s Day joke that eventually became serious art<ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> which allowed The Artist 2.0 to expand aesthetic investigations into landscapes and city life.

=== HD Streaming ===

{{Infobox artwork
|title = The Flow of Data Captured in an Idyllic Scene
|artist = Artist 2.0
|image = The Flow of Data Captured in an Idyllic Scene.jpg
|caption =
|medium = High Definition Video
|date = unknown
|url = http://glitchmuseum.com/theflowofdatacaptured.html
}}

''HD Streaming'' is a four part HD video series; ''Falls from Grace'', ''[[The Flow of Data Captured in an Idyllic Scene]]'', ''More Data Under the Bridge'', ''The Water of Information'', depicting natural settings being captured and streamed through the digital lens, or rather, they capture the effect of digitization. Locations greatly vary across the globe, and dates unknown.

''HD Streaming'' is in effect, a play on words where ''streaming'' is defined as the act of streaming video, yet is closely referenced to the noun ''stream'', flowing water. Thus, it follows that we see in this series, a localized datamoshing, or "glitching" effect, focused in and around, but not restricted to, the areas where there is flowing water, as a means to create meaning between the ideas of flowing water and flowing data<ref>''MOGA Catalog'', 07</ref> Conceptually, through ''HD Streaming'', Artist 2.0 is simultaneously referencing and investigating the problematic effect of the digital lens on social experience and our complex relation to technology. The interplay between the meanings of ''streaming'' expresses the digitization of nature, the normalizing effect that media sharing on the net over time has had on perceptions. Through this socially perpetual normalizing behaviour, Artist 2.0 means to address the concern of blurred boundaries between the perception of natural and the perception of artificial, that is; data, pixels, and byte artifacts.

In reference to the series, Artist 2.0 touches on the personal influences and themes involved:

"''When I see a beautiful scene in front of me, I almost can't believe it. I want to immerse myself in it the way I would a novel or film. But to interrupt my gaga eyes with the purely technical need to capture these environments as streaming images that I then feel compelled to share with my distributed network -- that's when my relationship to nature, to what is seen, becomes problematized. It becomes less about what the artist sees per se and more about what it means to see the way digital devices see, and to respond to ones surroundings with a supplementary machinic vision connected to the network of others I am sharing my life with. Sometimes I call these works 'Site Unseen'.''"<ref>http://professorvj.blogspot.ca/2012/08/the-conceptual-artist-20.html</ref>

=== The Comedy of Errors ===

''The Comedy of Errors'' is an "album length work of comedic sound art."<ref>http://glitchmuseum.com/thecomedyoferrors.html</ref> Of Artist 2.0's artworks, this piece is the least conceptually related to the others. It displays "glitch aesthetics" but it has no visual component, and does not deal directly with notions of physical space, which is a common theme in Artist 2.0's other work. This piece is more closely related to the artwork that the Artist 2.0 mythology makes up than to the meta-artwork attributed to Artist 2.0. This is shown clearly near the beginning of the recording, when the comedian says "No no really, don't commit me — that's the siren song of every ''avant garde'' artist ... let's face it, nobody wants to be institutionalized. Whether it's work, school, or prison, the bottom line is always the same: get me the fuck outta here!" In terms of conceptual history, ''The Comedy of Errors'' does not relate to Artist 2.0's works, but it can be seen as a precursor to the overall Artist 2.0 project.

=== Later Works ===

{{Infobox artwork
|title = Getting Lost (The Long Dérive)
|artist = Artist 2.0
|image = Getting Lost (The Long Dérive).png
|caption =
|medium = digital video and 3D animation (two channel)
|date = 2012
|url = http://www.glitchmuseum.com/gettinglost.html
}}

Artist 2.0's 'Later Works', both from 2012, are [[Getting Lost|''Getting Lost (The Long Dérive)'']] and ''[[WeRMediumzGoMetaOn-U]]''. These two pieces continue earlier explorations of Artist 2.0's; ''Getting Lost'' is a new take on the ''Lake District Walk'', and ''WeRMediumzGoMetaOn-U'' appears to be "associated with both the Google-Assisted Living series and some of the earlier experiments with both mobile videography and experimental forms of text."<ref name="laterworks">"Later Works." ''MOGA.'' N.p., n.d. Web. http://glitchmuseum.com/laterworks.html</ref>

These works are also both remixes. ''Getting Lost'' remixes Artist 2.0's own video with new imagery created with a 3D game engine.<ref name="laterworks" /> ''WeRMediumzGoMetaOn-U'' is a "remixological inhabitation of the last twelve minutes of [http://en.wikipedia.org/wiki/La_Jet%C3%A9e [Chris<nowiki>]</nowiki> Marker's La Jetée]."<ref>"MarkerAmerique in Paris and Honolulu." ''Professor VJ.'' N.p., 26 November 2013. Web. http://professorvj.blogspot.ca/2013/11/markeramerique-in-paris-and-honolulu.html</ref>

These 'Later Works' examine the way we experience digital media and digital space through analogy to physical space. According to the [http://glitchmuseum.com/MOGA_Catalog.pdf|MOGA Catalogue], ''Getting Lost'' presents the artist as a "virtual flanéur who traverses the experimentally rendered 3D game environment" <ref>''MOGA Catalog'', 16</ref>, and ''WeRMediumzGoMetaOn-U'' depicts a 'network of artist-mediums ... searching for ''a more dispersed, out of body and autohallucinatory revalation.''<ref>''MOGA Catalog'', 17</ref> Digital technology presents new forms of experience which are, even at their most recognizable, fundamentally from any previous human experience. Artist 2.0's later works point out that as we begin to experiment with new experiences, we naturally relate to them and discuss them through analogy to familiar experiences; in this case, we relate the digital to the physical. Nevertheless, a complex give-and-take is soon established; increasingly, we begin to expect digital experience to offer a "higher realm of experience ... [that] is idyllic, utopian, and oftentimes over-aestheticized" and imagine our idealistic utopias as involving digital experience.<ref>''MOGA Catalog'', 17</ref>

To some extent this is all nonsense; however, when presented both with the Artist 2.0's artwork and the surrounding theorization that creates Artist 2.0's mythology, we are forced to theorize ourselves about the effects of both. Thus, the conceptual impact of the work is to force the viewer to consider the concept of the meta-artwork, how its validity is effected by its status ''as'' a meta-artwork, and how these maps analogously onto digital/physical experiences and art world structures that are less contrived.

== List of Artworks ==

* '''The Early Years'''
** Verses Versus Versions
** Pixelmash
** [[.gif(t) economy series]]
* '''Art School Studies'''
** Glitch Aesthetics Blog
** Mobile Beach
** Mobile Conduction
** Power
** Deep Interior Landscape
* '''Lake District Walks'''
** Augmented Video Reality
** [[Code Mosh]]
** Raw Source
** Glitch Lake
* '''Google-Assisted Living'''
** Cinecriture
** [[Lake Como Remix]]
** 8-Bit Heaven
* '''HD Streaming'''
** Falls from Grace
** [[The Flow of Data Captured in an Idyllic Scene]]
** More Data Under the Bridge
** The Water of Information
* '''The Comedy of Errors'''
** The Comedy of Errors
* '''Later Works'''
** [[Getting Lost]]
** WeRMediumzGoMetaOn-U

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.

Artist 2.0

2014-10-08T05:32:59Z

NicholasLoewen: /* Art School Studies */ Improved citation.

The Artist 2.0 and the [http://www.glitchmuseum.com Museum of Glitch Aesthetics] are, respectively, character and context in the transmedia narrative directed by Mark Amerika. The Artist 2.0 is a "living fiction role-playing itself as a digital flux persona" legitimized through the Museum of Glitch Aesthetics, where both artist and museum inform each other as they are inextricably linked.<ref>''Museum of Glitch Aesthetics Catalog'', 1</ref>

{{Infobox artwork
|title = Lake Como Remix
|artist = Artist 2.0
|image = Lake Como Remix (undated).jpg
|caption =
|medium = Digital Video
|date = unknown
|url = http://glitchmuseum.com/lakecomoremix.html
}}

==The Artist 2.0 Persona==
Through the Museum of Glitch Aesthetics, the fictional lifeline and evolving art practice of the Artist 2.0 is simultaneously created and presented to viewers, in such a way, that language and institutional formatting lend anonymity and pseudo-legitimacy to the artist.<ref>http://elmcip.net/critical-writing/artists-personas-mediums-instruments-envisioning-visionary</ref> As such, the Artist 2.0 brings focus to the value-producing forces in art making; curators, art historians, media critics, and directors, thus acting as a social investigation of the way humans facilitate information streams, through social media culture, in constructing their online "net" identities.<ref>http://a2ru.org/knowledgebase/museum-glitch-aesthetics/</ref><ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> Ultimately though, "'the Artist 2.0' persona was created to indicate how an emerging form of art making associated with social media practices and an emerging new aesthetic are simultaneously challenging conventional art world exhibition contexts as well as embedding themselves in the art historical canon."<ref>''MOGA Catalog'', 1</ref>

==Aesthetics==
The Artist 2.0 facilitates the glitch aesthetic, that is, new media technology employed in the posthumous production and manipulation of data. The Artist 2.0 uses information technology and network-mediated art production that spans across a diverse collection of practices in art making. Such forms includes digital photography, animation, Net art, digital video, live performance, installation, electronic music and spoken word art, mobile phone films, 3D game design, and conceptual writing.<ref>''MOGA Catalog'', 2</ref> Such types and processes of data manipulation lend to the deconstructive and reconstructive aesthetic duality of the Artist 2.0, where data is found and captured, and then reconstructed to propagate meaning through the process of its deconstruction and manipulation. It is this glitch aesthetic that produces theme and critical social dialogue from the developing perspective of new media technology and data.

== Conceptual History ==

=== The Early Years ===

''The Early Years'' is the first phase of The Artist 2.0's work. Beginning in 2005, the first documented piece to exemplify his glitch aesthetic was ''Pixelmash''. Displayed as a digital video projection in the Winter Gardens building in Morecambe, United Kingdom, ''Pixelmash'' was part of an exhibition by local artists in the Net art scene. This installation was captured on an early mobile phone, resulting in a poor quality video. The documentation by mobile phone again appears in his .''gif(t) economy'' series, in which he appropriates images from a variety of sources such as film, painting, and pre-existing images on the internet. The glitchy images and stills were created into short, quick animated GIFs, and distributed online.

=== Art School Studies ===

In this period, during which "historians believe that The Artist 2.0 ... went to school in the Northwest of England, perhaps at the University of Lancaster,"<ref name="artschool">"Art School Studies." ''MOGA.'' N.p, n.d. Web. http://glitchmuseum.com/artschoolstudies.html</ref> he was influenced by the natural and built environment. This led to an increasingly performative practice. Despite being inspired by the environment around the artist, the work is not tied to physical or specific space. The medium of mobile phone video, used for ''Mobile Beach'', ''Mobile Conduction'', ''Power'', and ''Deep Interior Landscape'', while recording a physical space, comes across as a rejection of specific physicality. The ''Glitch Aesthetics Blog'', a piece which exists only online and which features entirely computer-produced images, further removes the significance of physical space. In his subsequent work, the artist continues to explore this tension between the relationship between an emotional connection to physical space and the spatially non-specific nature of digital experience.

=== Lake District Walks ===

{{Infobox artwork
|title = Lake District Walks: Code Mosh
|artist = The Artist 2.0
|image = Lake District Walks Code Mosh.png
|caption =
|medium = Footage from Nokia N93
|date = 2007-2008
|url = http://www.glitchmuseum.com/ldw1.html}}

The Artist 2.0’s Lake District Walks (2007-2008) video series explores adventurous hikes in correlation to the “nature of technology and the technological apprehension of nature as an image”. <ref>''MOGA Catalog'', 6 </ref> The series depicts a variety of viewing experiences through the intentional layers of glitch effects post produced after the raw “walkthrough” footage

=== Google-Assisted Living ===

''Google-Assisted Living'' consists of the three titles: ''Cinecriture'', ''Lake Como Remix'' and, ''8-Bit Heaven''. What makes these works different from the rest is that it was created using Google Earth and Google Street Viewing Software. It is said that this particular series is The Artist’s 2.0’s “digital lifestyle practice and “as derivative of content already explored by Situationists.”<ref>''MOGA Catalog'', 7</ref>
The Artist 2.0 plays with the glitch aesthetics provided by Google Street View and Earth which The Artist 2.0 believes is challenging the “false representations of high-definition.”<ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> This Google-assisted view of landscape is reminiscent of his handheld phone video art Mobile Conduction, in which was the experimentation with handheld videography, but now taken further to expose glitches and abstract forms of pixelated scenery. 8-bit Heaven was released as part of an April Fool’s Day joke that eventually became serious art<ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> which allowed The Artist 2.0 to expand aesthetic investigations into landscapes and city life.

=== HD Streaming ===

{{Infobox artwork
|title = The Flow of Data Captured in an Idyllic Scene
|artist = Artist 2.0
|image = The Flow of Data Captured in an Idyllic Scene.jpg
|caption =
|medium = High Definition Video
|date = unknown
|url = http://glitchmuseum.com/theflowofdatacaptured.html
}}

''HD Streaming'' is a four part HD video series; ''Falls from Grace'', ''[[The Flow of Data Captured in an Idyllic Scene]]'', ''More Data Under the Bridge'', ''The Water of Information'', depicting natural settings being captured and streamed through the digital lens, or rather, they capture the effect of digitization. Locations greatly vary across the globe, and dates unknown.

''HD Streaming'' is in effect, a play on words where ''streaming'' is defined as the act of streaming video, yet is closely referenced to the noun ''stream'', flowing water. Thus, it follows that we see in this series, a localized datamoshing, or "glitching" effect, focused in and around, but not restricted to, the areas where there is flowing water, as a means to create meaning between the ideas of flowing water and flowing data<ref>''MOGA Catalog'', 07</ref> Conceptually, through ''HD Streaming'', Artist 2.0 is simultaneously referencing and investigating the problematic effect of the digital lens on social experience and our complex relation to technology. The interplay between the meanings of ''streaming'' expresses the digitization of nature, the normalizing effect that media sharing on the net over time has had on perceptions. Through this socially perpetual normalizing behaviour, Artist 2.0 means to address the concern of blurred boundaries between the perception of natural and the perception of artificial, that is; data, pixels, and byte artifacts.

In reference to the series, Artist 2.0 touches on the personal influences and themes involved:

"''When I see a beautiful scene in front of me, I almost can't believe it. I want to immerse myself in it the way I would a novel or film. But to interrupt my gaga eyes with the purely technical need to capture these environments as streaming images that I then feel compelled to share with my distributed network -- that's when my relationship to nature, to what is seen, becomes problematized. It becomes less about what the artist sees per se and more about what it means to see the way digital devices see, and to respond to ones surroundings with a supplementary machinic vision connected to the network of others I am sharing my life with. Sometimes I call these works 'Site Unseen'.''"<ref>http://professorvj.blogspot.ca/2012/08/the-conceptual-artist-20.html</ref>

=== The Comedy of Errors ===

''The Comedy of Errors'' is an "album length work of comedic sound art."<ref>http://glitchmuseum.com/thecomedyoferrors.html</ref> Of Artist 2.0's artworks, this piece is the least conceptually related to the others. It displays "glitch aesthetics" but it has no visual component, and does not deal directly with notions of physical space, which is a common theme in Artist 2.0's other work. This piece is more closely related to the artwork that the Artist 2.0 mythology makes up than to the meta-artwork attributed to Artist 2.0. This is shown clearly near the beginning of the recording, when the comedian says "No no really, don't commit me — that's the siren song of every ''avant garde'' artist ... let's face it, nobody wants to be institutionalized. Whether it's work, school, or prison, the bottom line is always the same: get me the fuck outta here!" In terms of conceptual history, ''The Comedy of Errors'' does not relate to Artist 2.0's works, but it can be seen as a precursor to the overall Artist 2.0 project.

=== Later Works ===

{{Infobox artwork
|title = Getting Lost (The Long Dérive)
|artist = Artist 2.0
|image = Getting Lost (The Long Dérive).png
|caption =
|medium = digital video and 3D animation (two channel)
|date = 2012
|url = http://www.glitchmuseum.com/gettinglost.html
}}

Artist 2.0's 'Later Works', both from 2012, are [[Getting Lost|''Getting Lost (The Long Dérive)'']] and ''[[WeRMediumzGoMetaOn-U]]''. These two pieces continue earlier explorations of Artist 2.0's; ''Getting Lost'' is a new take on the ''Lake District Walk'', and ''WeRMediumzGoMetaOn-U'' appears to be "associated with both the Google-Assisted Living series and some of the earlier experiments with both mobile videography and experimental forms of text."<ref name="laterworks">http://glitchmuseum.com/laterworks.html</ref>

These works are also both remixes. ''Getting Lost'' remixes Artist 2.0's own video with new imagery created with a 3D game engine.<ref name="laterworks" /> ''WeRMediumzGoMetaOn-U'' is a "remixological inhabitation of the last twelve minutes of [http://en.wikipedia.org/wiki/La_Jet%C3%A9e [Chris<nowiki>]</nowiki> Marker's La Jetée]."<ref>http://professorvj.blogspot.ca/2013/11/markeramerique-in-paris-and-honolulu.html</ref>

These 'Later Works' examine the way we experience digital media and digital space through analogy to physical space. According to the [http://glitchmuseum.com/MOGA_Catalog.pdf|MOGA Catalogue], ''Getting Lost'' presents the artist as a "virtual flanéur who traverses the experimentally rendered 3D game environment" <ref>''MOGA Catalog'', 16</ref>, and ''WeRMediumzGoMetaOn-U'' depicts a 'network of artist-mediums ... searching for ''a more dispersed, out of body and autohallucinatory revalation.''<ref>''MOGA Catalog'', 17</ref> Digital technology presents new forms of experience which are, even at their most recognizable, fundamentally from any previous human experience. Artist 2.0's later works point out that as we begin to experiment with new experiences, we naturally relate to them and discuss them through analogy to familiar experiences; in this case, we relate the digital to the physical. Nevertheless, a complex give-and-take is soon established; increasingly, we begin to expect digital experience to offer a "higher realm of experience ... [that] is idyllic, utopian, and oftentimes over-aestheticized" and imagine our idealistic utopias as involving digital experience.<ref>''MOGA Catalog'', 17</ref>

To some extent this is all nonsense; however, when presented both with the Artist 2.0's artwork and the surrounding theorization that creates Artist 2.0's mythology, we are forced to theorize ourselves about the effects of both. Thus, the conceptual impact of the work is to force the viewer to consider the concept of the meta-artwork, how its validity is effected by its status ''as'' a meta-artwork, and how these maps analogously onto digital/physical experiences and art world structures that are less contrived.

== List of Artworks ==

* '''The Early Years'''
** Verses Versus Versions
** Pixelmash
** [[.gif(t) economy series]]
* '''Art School Studies'''
** Glitch Aesthetics Blog
** Mobile Beach
** Mobile Conduction
** Power
** Deep Interior Landscape
* '''Lake District Walks'''
** Augmented Video Reality
** [[Code Mosh]]
** Raw Source
** Glitch Lake
* '''Google-Assisted Living'''
** Cinecriture
** [[Lake Como Remix]]
** 8-Bit Heaven
* '''HD Streaming'''
** Falls from Grace
** [[The Flow of Data Captured in an Idyllic Scene]]
** More Data Under the Bridge
** The Water of Information
* '''The Comedy of Errors'''
** The Comedy of Errors
* '''Later Works'''
** [[Getting Lost]]
** WeRMediumzGoMetaOn-U

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.

Artist 2.0

2014-10-08T05:27:29Z

NicholasLoewen: /* The Comedy of Errors */ Swapped in a different piece re: 'Comedy of Errors.'

The Artist 2.0 and the [http://www.glitchmuseum.com Museum of Glitch Aesthetics] are, respectively, character and context in the transmedia narrative directed by Mark Amerika. The Artist 2.0 is a "living fiction role-playing itself as a digital flux persona" legitimized through the Museum of Glitch Aesthetics, where both artist and museum inform each other as they are inextricably linked.<ref>''Museum of Glitch Aesthetics Catalog'', 1</ref>

{{Infobox artwork
|title = Lake Como Remix
|artist = Artist 2.0
|image = Lake Como Remix (undated).jpg
|caption =
|medium = Digital Video
|date = unknown
|url = http://glitchmuseum.com/lakecomoremix.html
}}

==The Artist 2.0 Persona==
Through the Museum of Glitch Aesthetics, the fictional lifeline and evolving art practice of the Artist 2.0 is simultaneously created and presented to viewers, in such a way, that language and institutional formatting lend anonymity and pseudo-legitimacy to the artist.<ref>http://elmcip.net/critical-writing/artists-personas-mediums-instruments-envisioning-visionary</ref> As such, the Artist 2.0 brings focus to the value-producing forces in art making; curators, art historians, media critics, and directors, thus acting as a social investigation of the way humans facilitate information streams, through social media culture, in constructing their online "net" identities.<ref>http://a2ru.org/knowledgebase/museum-glitch-aesthetics/</ref><ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> Ultimately though, "'the Artist 2.0' persona was created to indicate how an emerging form of art making associated with social media practices and an emerging new aesthetic are simultaneously challenging conventional art world exhibition contexts as well as embedding themselves in the art historical canon."<ref>''MOGA Catalog'', 1</ref>

==Aesthetics==
The Artist 2.0 facilitates the glitch aesthetic, that is, new media technology employed in the posthumous production and manipulation of data. The Artist 2.0 uses information technology and network-mediated art production that spans across a diverse collection of practices in art making. Such forms includes digital photography, animation, Net art, digital video, live performance, installation, electronic music and spoken word art, mobile phone films, 3D game design, and conceptual writing.<ref>''MOGA Catalog'', 2</ref> Such types and processes of data manipulation lend to the deconstructive and reconstructive aesthetic duality of the Artist 2.0, where data is found and captured, and then reconstructed to propagate meaning through the process of its deconstruction and manipulation. It is this glitch aesthetic that produces theme and critical social dialogue from the developing perspective of new media technology and data.

== Conceptual History ==

=== The Early Years ===

''The Early Years'' is the first phase of The Artist 2.0's work. Beginning in 2005, the first documented piece to exemplify his glitch aesthetic was ''Pixelmash''. Displayed as a digital video projection in the Winter Gardens building in Morecambe, United Kingdom, ''Pixelmash'' was part of an exhibition by local artists in the Net art scene. This installation was captured on an early mobile phone, resulting in a poor quality video. The documentation by mobile phone again appears in his .''gif(t) economy'' series, in which

=== Art School Studies ===

In this period, during which "historians believe that The Artist 2.0 ... went to school in the Northwest of England, perhaps at the University of Lancaster,"<ref name="artschool">http://glitchmuseum.com/artschoolstudies.html</ref> he was influenced by the natural and built environment. This led to an increasingly performative practice. Despite being inspired by the environment around the artist, the work is not tied to physical or specific space. The medium of mobile phone video, used for ''Mobile Beach'', ''Mobile Conduction'', ''Power'', and ''Deep Interior Landscape'', while recording a physical space, comes across as a rejection of specific physicality. The ''Glitch Aesthetics Blog'', a piece which exists only online and which features entirely computer-produced images, further removes the significance of physical space. In his subsequent work, the artist continues to explore this tension between the relationship between an emotional connection to physical space and the spatially non-specific nature of digital experience.

=== Lake District Walks ===

{{Infobox artwork
|title = Lake District Walks: Code Mosh
|artist = The Artist 2.0
|image = Lake District Walks Code Mosh.png
|caption =
|medium = Footage from Nokia N93
|date = 2007-2008
|url = http://www.glitchmuseum.com/ldw1.html}}

The Artist 2.0’s Lake District Walks (2007-2008) video series explores adventurous hikes in correlation to the “nature of technology and the technological apprehension of nature as an image”. <ref>''MOGA Catalog'', 6 </ref> The series depicts a variety of viewing experiences through the intentional layers of glitch effects post produced after the raw “walkthrough” footage

=== Google-Assisted Living ===

''Google-Assisted Living'' consists of the three titles: ''Cinecriture'', ''Lake Como Remix'' and, ''8-Bit Heaven''. What makes these works different from the rest is that it was created using Google Earth and Google Street Viewing Software. It is said that this particular series is The Artist’s 2.0’s “digital lifestyle practice and “as derivative of content already explored by Situationists.”<ref>''MOGA Catalog'', 7</ref>
The Artist 2.0 plays with the glitch aesthetics provided by Google Street View and Earth which The Artist 2.0 believes is challenging the “false representations of high-definition.”<ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> This Google-assisted view of landscape is reminiscent of his handheld phone video art Mobile Conduction, in which was the experimentation with handheld videography, but now taken further to expose glitches and abstract forms of pixelated scenery. 8-bit Heaven was released as part of an April Fool’s Day joke that eventually became serious art<ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> which allowed The Artist 2.0 to expand aesthetic investigations into landscapes and city life.

=== HD Streaming ===

{{Infobox artwork
|title = The Flow of Data Captured in an Idyllic Scene
|artist = Artist 2.0
|image = The Flow of Data Captured in an Idyllic Scene.jpg
|caption =
|medium = High Definition Video
|date = unknown
|url = http://glitchmuseum.com/theflowofdatacaptured.html
}}

''HD Streaming'' is a four part HD video series; ''Falls from Grace'', ''[[The Flow of Data Captured in an Idyllic Scene]]'', ''More Data Under the Bridge'', ''The Water of Information'', depicting natural settings being captured and streamed through the digital lens, or rather, they capture the effect of digitization. Locations greatly vary across the globe, and dates unknown.

''HD Streaming'' is in effect, a play on words where ''streaming'' is defined as the act of streaming video, yet is closely referenced to the noun ''stream'', flowing water. Thus, it follows that we see in this series, a localized datamoshing, or "glitching" effect, focused in and around, but not restricted to, the areas where there is flowing water, as a means to create meaning between the ideas of flowing water and flowing data<ref>''MOGA Catalog'', 07</ref> Conceptually, through ''HD Streaming'', Artist 2.0 is simultaneously referencing and investigating the problematic effect of the digital lens on social experience and our complex relation to technology. The interplay between the meanings of ''streaming'' expresses the digitization of nature, the normalizing effect that media sharing on the net over time has had on perceptions. Through this socially perpetual normalizing behaviour, Artist 2.0 means to address the concern of blurred boundaries between the perception of natural and the perception of artificial, that is; data, pixels, and byte artifacts.

In reference to the series, Artist 2.0 touches on the personal influences and themes involved:

"''When I see a beautiful scene in front of me, I almost can't believe it. I want to immerse myself in it the way I would a novel or film. But to interrupt my gaga eyes with the purely technical need to capture these environments as streaming images that I then feel compelled to share with my distributed network -- that's when my relationship to nature, to what is seen, becomes problematized. It becomes less about what the artist sees per se and more about what it means to see the way digital devices see, and to respond to ones surroundings with a supplementary machinic vision connected to the network of others I am sharing my life with. Sometimes I call these works 'Site Unseen'.''"<ref>http://professorvj.blogspot.ca/2012/08/the-conceptual-artist-20.html</ref>

''The Comedy of Errors'' is an "album length work of comedic sound art."<ref>http://glitchmuseum.com/thecomedyoferrors.html</ref> Of Artist 2.0's artworks, this piece is the least conceptually related to the others. It displays "glitch aesthetics" but it has no visual component, and does not deal directly with notions of physical space, which is a common theme in Artist 2.0's other work. This piece is more closely related to the artwork that the Artist 2.0 mythology makes up than to the meta-artwork attributed to Artist 2.0. This is shown clearly near the beginning of the recording, when the comedian says "No no really, don't commit me — that's the siren song of every ''avant garde'' artist ... let's face it, nobody wants to be institutionalized. Whether it's work, school, or prison, the bottom line is always the same: get me the fuck outta here!" In terms of conceptual history, ''The Comedy of Errors'' does not relate to Artist 2.0's works, but it can be seen as a precursor to the overall Artist 2.0 project.

=== Later Works ===

{{Infobox artwork
|title = Getting Lost (The Long Dérive)
|artist = Artist 2.0
|image = Getting Lost (The Long Dérive).png
|caption =
|medium = digital video and 3D animation (two channel)
|date = 2012
|url = http://www.glitchmuseum.com/gettinglost.html
}}

Artist 2.0's 'Later Works', both from 2012, are [[Getting Lost|''Getting Lost (The Long Dérive)'']] and ''[[WeRMediumzGoMetaOn-U]]''. These two pieces continue earlier explorations of Artist 2.0's; ''Getting Lost'' is a new take on the ''Lake District Walk'', and ''WeRMediumzGoMetaOn-U'' appears to be "associated with both the Google-Assisted Living series and some of the earlier experiments with both mobile videography and experimental forms of text."<ref name="laterworks">http://glitchmuseum.com/laterworks.html</ref>

These works are also both remixes. ''Getting Lost'' remixes Artist 2.0's own video with new imagery created with a 3D game engine.<ref name="laterworks" /> ''WeRMediumzGoMetaOn-U'' is a "remixological inhabitation of the last twelve minutes of [http://en.wikipedia.org/wiki/La_Jet%C3%A9e [Chris<nowiki>]</nowiki> Marker's La Jetée]."<ref>http://professorvj.blogspot.ca/2013/11/markeramerique-in-paris-and-honolulu.html</ref>

These 'Later Works' examine the way we experience digital media and digital space through analogy to physical space. According to the [http://glitchmuseum.com/MOGA_Catalog.pdf|MOGA Catalogue], ''Getting Lost'' presents the artist as a "virtual flanéur who traverses the experimentally rendered 3D game environment" <ref>''MOGA Catalog'', 16</ref>, and ''WeRMediumzGoMetaOn-U'' depicts a 'network of artist-mediums ... searching for ''a more dispersed, out of body and autohallucinatory revalation.''<ref>''MOGA Catalog'', 17</ref> Digital technology presents new forms of experience which are, even at their most recognizable, fundamentally from any previous human experience. Artist 2.0's later works point out that as we begin to experiment with new experiences, we naturally relate to them and discuss them through analogy to familiar experiences; in this case, we relate the digital to the physical. Nevertheless, a complex give-and-take is soon established; increasingly, we begin to expect digital experience to offer a "higher realm of experience ... [that] is idyllic, utopian, and oftentimes over-aestheticized" and imagine our idealistic utopias as involving digital experience.<ref>''MOGA Catalog'', 17</ref>

To some extent this is all nonsense; however, when presented both with the Artist 2.0's artwork and the surrounding theorization that creates Artist 2.0's mythology, we are forced to theorize ourselves about the effects of both. Thus, the conceptual impact of the work is to force the viewer to consider the concept of the meta-artwork, how its validity is effected by its status ''as'' a meta-artwork, and how these maps analogously onto digital/physical experiences and art world structures that are less contrived.

== List of Artworks ==

* '''The Early Years'''
** Verses Versus Versions
** Pixelmash
** [[.gif(t) economy series]]
* '''Art School Studies'''
** Glitch Aesthetics Blog
** Mobile Beach
** Mobile Conduction
** Power
** Deep Interior Landscape
* '''Lake District Walks'''
** Augmented Video Reality
** [[Code Mosh]]
** Raw Source
** Glitch Lake
* '''Google-Assisted Living'''
** Cinecriture
** [[Lake Como Remix]]
** 8-Bit Heaven
* '''HD Streaming'''
** Falls from Grace
** [[The Flow of Data Captured in an Idyllic Scene]]
** More Data Under the Bridge
** The Water of Information
* '''The Comedy of Errors'''
** The Comedy of Errors
* '''Later Works'''
** [[Getting Lost]]
** WeRMediumzGoMetaOn-U

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.

Artist 2.0

2014-10-08T05:08:03Z

NicholasLoewen: /* Art School Studies */ Brief bit on the Art School Studies.

The Artist 2.0 and the [http://www.glitchmuseum.com Museum of Glitch Aesthetics] are, respectively, character and context in the transmedia narrative directed by Mark Amerika. The Artist 2.0 is a "living fiction role-playing itself as a digital flux persona" legitimized through the Museum of Glitch Aesthetics, where both artist and museum inform each other as they are inextricably linked.<ref>''Museum of Glitch Aesthetics Catalog'', 1</ref>

==The Artist 2.0 Persona==
Through the Museum of Glitch Aesthetics, the fictional lifeline and evolving art practice of the Artist 2.0 is simultaneously created and presented to viewers, in such a way, that language and institutional formatting lend anonymity and pseudo-legitimacy to the artist.<ref>http://elmcip.net/critical-writing/artists-personas-mediums-instruments-envisioning-visionary</ref> As such, the Artist 2.0 brings focus to the value-producing forces in art making; curators, art historians, media critics, and directors, thus acting as a social investigation of the way humans facilitate information streams, through social media culture, in constructing their online "net" identities.<ref>http://a2ru.org/knowledgebase/museum-glitch-aesthetics/</ref><ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> Ultimately though, "'the Artist 2.0' persona was created to indicate how an emerging form of art making associated with social media practices and an emerging new aesthetic are simultaneously challenging conventional art world exhibition contexts as well as embedding themselves in the art historical canon."<ref>''MOGA Catalog'', 1</ref>

==Aesthetics==
The Artist 2.0 facilitates the glitch aesthetic, that is, new media technology employed in the posthumous production and manipulation of data. The Artist 2.0 uses information technology and network-mediated art production that spans across a diverse collection of practices in art making. Such forms includes digital photography, animation, Net art, digital video, live performance, installation, electronic music and spoken word art, mobile phone films, 3D game design, and conceptual writing.<ref>''MOGA Catalog'', 2</ref> Such types and processes of data manipulation lend to the deconstructive and reconstructive aesthetic duality of the Artist 2.0, where data is found and captured, and then reconstructed to propagate meaning through the process of its deconstruction and manipulation. It is this glitch aesthetic that produces theme and critical social dialogue from the developing perspective of new media technology and data.

== Conceptual History ==

=== The Early Years ===

''The Early Years'' is the first phase of The Artist 2.0's work. Beginning in 2005, the first documented piece to exemplify his glitch aesthetic was ''Pixelmash''. Displayed as a digital video projection

=== Art School Studies ===

In this period, during which "historians believe that The Artist 2.0 ... went to school in the Northwest of England, perhaps at the University of Lancaster,"<ref name="artschool">http://glitchmuseum.com/artschoolstudies.html</ref> he was influenced by the natural and built environment. This led to an increasingly performative practice. Despite being inspired by the environment around the artist, the work is not tied to physical or specific space. The medium of mobile phone video, used for ''Mobile Beach'', ''Mobile Conduction'', ''Power'', and ''Deep Interior Landscape'', while recording a physical space, comes across as a rejection of specific physicality. The ''Glitch Aesthetics Blog'', a piece which exists only online and which features entirely computer-produced images, further removes the significance of physical space. In his subsequent work, the artist continues to explore this tension between the relationship between an emotional connection to physical space and the spatially non-specific nature of digital experience.

=== Lake District Walks ===

The Artist 2.0’s Lake District Walks (2007-2008) video series explores adventurous hikes in correlation to the “nature of technology and the technological apprehension of nature as an image”. The series depicts a variety of viewing experiences through the intentional layers of glitch effects post produced after the raw “walkthrough” footage

=== Google-Assisted Living ===

''Google-Assisted Living'' consists of the three titles: ''Cinecriture'', ''Lake Como Remix'' and, ''8-Bit Heaven''. What makes these works different from the rest is that it was created using Google Earth and Google Street Viewing Software. It is said that this particular series is The Artist’s 2.0’s “digital lifestyle practice and “as derivative of content already explored by Situationists.”<ref>''MOGA Catalog'', 7</ref>
The Artist 2.0 plays with the glitch aesthetics provided by Google Street View and Earth which The Artist 2.0 believes is challenging the “false representations of high-definition.”<ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> This Google-assisted view of landscape is reminiscent of his handheld phone video art Mobile Conduction, in which was the experimentation with handheld videography, but now taken further to expose glitches and abstract forms of pixelated scenery. 8-bit Heaven was released as part of an April Fool’s Day joke that eventually became serious art<ref>http://thecreatorsproject.vice.com/blog/mark-amerika-discusses-corrupting-lake-como-museum-of-glitch-art</ref> which allowed The Artist 2.0 to expand aesthetic investigations into landscapes and city life.

=== HD Streaming ===

''HD Streaming'' is a four part HD video series; ''Falls from Grace'', ''[[The Flow of Data Captured in an Idyllic Scene]]'', ''More Data Under the Bridge'', ''The Water of Information'', depicting natural settings being captured and streamed through the digital lens, or rather, they capture the effect of digitization. Locations greatly vary across the globe, and dates unknown.

''HD Streaming'' is in effect, a play on words where ''streaming'' is defined as the act of streaming video, yet is closely referenced to the noun ''stream'', flowing water. Thus, it follows that we see in this series, a localized datamoshing, or "glitching" effect, focused in and around, but not restricted to, the areas where there is flowing water, as a means to create meaning between the ideas of flowing water and flowing data<ref>''MOGA Catalog'', 07</ref> Conceptually, through ''HD Streaming'', Artist 2.0 is simultaneously referencing and investigating the problematic effect of the digital lens on social experience and our complex relation to technology. The interplay between the meanings of ''streaming'' expresses the digitization of nature, the normalizing effect that media sharing on the net over time has had on perceptions. Through this socially perpetual normalizing behaviour, Artist 2.0 means to address the concern of blurred boundaries between the perception of natural and the perception of artificial, that is; data, pixels, and byte artifacts.

In reference to the series, Artist 2.0 touches on the personal influences and themes involved:

"''When I see a beautiful scene in front of me, I almost can't believe it. I want to immerse myself in it the way I would a novel or film. But to interrupt my gaga eyes with the purely technical need to capture these environments as streaming images that I then feel compelled to share with my distributed network -- that's when my relationship to nature, to what is seen, becomes problematized. It becomes less about what the artist sees per se and more about what it means to see the way digital devices see, and to respond to ones surroundings with a supplementary machinic vision connected to the network of others I am sharing my life with. Sometimes I call these works 'Site Unseen'.''"<ref>http://professorvj.blogspot.ca/2012/08/the-conceptual-artist-20.html</ref>

=== The Comedy of Errors ===

=== Later Works ===

Artist 2.0's 'Later Works', both from 2012, are [[Getting Lost|''Getting Lost (The Long Dérive)'']] and ''[[WeRMediumzGoMetaOn-U]]''. These two pieces continue earlier explorations of Artist 2.0's; ''Getting Lost'' is a new take on the ''Lake District Walk'', and ''WeRMediumzGoMetaOn-U'' appears to be "associated with both the Google-Assisted Living series and some of the earlier experiments with both mobile videography and experimental forms of text."<ref name="laterworks">http://glitchmuseum.com/laterworks.html</ref>

These works are also both remixes. ''Getting Lost'' remixes Artist 2.0's own video with new imagery created with a 3D game engine.<ref name="laterworks" /> ''WeRMediumzGoMetaOn-U'' is a "remixological inhabitation of the last twelve minutes of [http://en.wikipedia.org/wiki/La_Jet%C3%A9e [Chris<nowiki>]</nowiki> Marker's La Jetée]."<ref>http://professorvj.blogspot.ca/2013/11/markeramerique-in-paris-and-honolulu.html</ref>

These 'Later Works' examine the way we experience digital media and digital space through analogy to physical space. According to the [http://glitchmuseum.com/MOGA_Catalog.pdf|MOGA Catalogue], ''Getting Lost'' presents the artist as a "virtual flanéur who traverses the experimentally rendered 3D game environment" <ref>''MOGA Catalog'', 16</ref>, and ''WeRMediumzGoMetaOn-U'' depicts a 'network of artist-mediums ... searching for ''a more dispersed, out of body and autohallucinatory revalation.''<ref>''MOGA Catalog'', 17</ref> Digital technology presents new forms of experience which are, even at their most recognizable, fundamentally from any previous human experience. Artist 2.0's later works point out that as we begin to experiment with new experiences, we naturally relate to them and discuss them through analogy to familiar experiences; in this case, we relate the digital to the physical. Nevertheless, a complex give-and-take is soon established; increasingly, we begin to expect digital experience to offer a "higher realm of experience ... [that] is idyllic, utopian, and oftentimes over-aestheticized" and imagine our idealistic utopias as involving digital experience.<ref>''MOGA Catalog'', 17</ref>

To some extent this is all nonsense; however, when presented both with the Artist 2.0's artwork and the surrounding theorization that creates Artist 2.0's mythology, we are forced to theorize ourselves about the effects of both. Thus, the conceptual impact of the work is to force the viewer to consider the concept of the meta-artwork, how its validity is effected by its status ''as'' a meta-artwork, and how these maps analogously onto digital/physical experiences and art world structures that are less contrived.

== List of Artworks ==

* '''The Early Years'''
** Verses Versus Versions
** Pixelmash
** [[.gif(t) economy series]]
* '''Art School Studies'''
** Glitch Aesthetics Blog
** Mobile Beach
** Mobile Conduction
** Power
** Deep Interior Landscape
* '''Lake District Walks'''
** Augmented Video Reality
** [[Code Mosh]]
** Raw Source
** Glitch Lake
* '''Google-Assisted Living'''
** Cinecriture
** [[Lake Como Remix]]
** 8-Bit Heaven
* '''HD Streaming'''
** Falls from Grace
** [[The Flow of Data Captured in an Idyllic Scene]]
** More Data Under the Bridge
** The Water of Information
* '''The Comedy of Errors'''
** The Comedy of Errors
* '''Later Works'''
** [[Getting Lost]]
** WeRMediumzGoMetaOn-U

== Notes ==

{{reflist}}

== References ==

[http://glitchmuseum.com/MOGA_Catalog.pdf ''Museum of Glitch Aesthetics Catalog'']. Ed. Mark Amerika. Self-published, 2012. PDF.