Month: May 2017

Works Cited

Images

~adrian. “Alexandre Cabanel: The Birth of Venus, 1863 (gallery)” Digital Image. www.Flickriver.com. Unknown date. Web. Mar 2017. http://www.flickriver.com/photos/am/tags/venus/

Alexander Cabanel. The Birth of Venus. 1863. France. www.pinterest.com. Web. Mar 2017.

Artist Unknown. If anyone has any information regarding the photographer/artist/copyright holder of this image, please contact the author. <https://www.pinterest.com/pin/334110866095648795/>

Artist Unknown. <http://indie-edits.tumblr.com/post/137144275614/trippy-universe-see-more-here> If anyone has any information about the photographer/artist/copyright holder of this image, please contact the author.

Artist Unknown. If anyone has any information about the artist/copyright holder of this image, please contact the author. <https://mulpix.com/post/986353982508289126.html>

Artist Unknown. Woman at a Window. circa 1510-1530. Italy. www.thenationalgallery.org.uk. Web. Mar 2017. <https://www.nationalgallery.org.uk/paintings/italian-nroth-woman-at-a-window>

“Avatar: The Legend Of Korra Computer Wallpapers, Desktop Backgrounds | 1920×1080 | ID:691847.” Wallpaper Abyss. N.p., n.d. Web. 10 May 2017.

Biennale de Lyon, “Yoko Ono – Cut Piece”. Photograph. Pinterest Web. Mar 2017 <.https://www.pinterest.com/pin/332914597433142529/>

Byron Barrett, “Untitled” Flickr. Web. Date Unknown CC BY-NC-ND.

Cait Munroe. “Yoko Ono performs Cut Piece”. June 10, 2015. Digital Imagery. www.artnet.com. Web. Mar 2017. <https://news.artnet.com/art-world/peaches-yoko-cut-piece-306774>

Cory Godbey. Fox River Holiday. 2012. Godbey, corygodbey.com. Web. Mar 4 2017. <.http://corygodbey.com/>

Cory Godbey. The Gryphon March. 2013. Godbey, corygodbey.com. Web. Mar 2017. <http://corygodbey.com/>

Cory Godbey. The Wanderings. 2015. Godbey, corygodbey.com. Web. Mar 2017. <https://corygodbey.com/>

Cory Godbey, The Walking Hill. 2011. Godbey, corygodbey.com. Web. Mar 2017.<http://corygodbey.com/>

Cory Godbey. The Gryphon March. 2013. Godbey, corygodbey.com. Web. Mar 2017. <http://corygodbey.com/>

 

“Glitch in the matrix.” Dump A Day. N.p., n.d. Web. 10 May 2017.

Gonsalves, Rob. “Arboreal Office » Rob Gonsalves » Marcus Ashley Gallery.” Marcus Ashley Gallery. N.p., n.d. Web. 10 May 2017.

Henry Faber, “Glitch Munch, October 28, 2010. Digital Imagery. Flickr. Web. May 2017 .https://www.flickr.com/photos/henryfaber/5124158626/in/photolist-7u31AU-7u31AE-7sUJRk-hYY6rS-hYYQdR-hYY6uY-RFZYL9-MDnkRJ-8NNDQw-snucJs-73E6BZ

Illustration entitled “Boy in Darkness” by Mervyn Peake from his book, “Ride a Cock-Horse and other Nursery Rhymes” , 1940. https://www.britannica.com/biography/Mervyn-Peake

Inside.Playdead. June 29, 2016. Digital Imagery. Pinterest. Web. May 2017.

Jason Chu, “Blackwood Reader”, Ink on Black Paper. Augustana, 2017.

Jason Chu, “Stranded”, Ink on Black Paper. Augustana, 2017.

Jason Chu, “Tranquility”, Ink on Black Paper. Augustana, 2017.

Jason Chu. “Wanderings” Augustana, 2017.

Jonathan Lichtfeld. Summer, Where Art Thou? Digital Imagery. Pinterest. Date of posting unknown. Web. Mar 2017.  <https://gr.pinterest.com/pin/128282289366992611?>

Julie Baumgardner, “Yoko Ono” August 4, 2015. Photograph. www.artsy.net, Web. Mar 2017. <https://www.artsy.net/article/artsy-editorial-iconic-artists-and-movements-of-the-1960s

katybourne. Image Untitled. November 1, 2014. Digital Imagery. Flickr. Web. May 2017. https://www.flickr.com/photos/bedouindress/15063967394/in/photolist-oX9LFL-D7RRg-aFbaff-gX4eg6-dpsZUc-dptk2E-dMKrzL-pAh5DE-pvrgUC-cP5ASm-U6A5ZW-7Y2JQa-dptaa9-eNCEy6-dptoyb-dMKrAQ-7NxfTb-dptmMG-dMKrBj-dDjZvm-n7vtWo-fPbFQf-7Y5ZZL-bzND4x-bN2KqR-o31x6u-e2R9iN-bmTNRG-T9NXtG-67d3VG-5UnCDC-7NtgEn-ebziiz-HjZSiv-bB7xWn-7Y2KQM-fadhG9-dCgfqF-qYU43g-pUW5qb-eF7yNh-fNU8Lk-dKXGHv-dptkKc-cVgR5S-e8Wzct-9djdMN-ca2uqh-dpt73B-53rYB4

Laine, Michelle. “Security Check Required.” Pinterest. N.p., 26 Jan. 2016. Web. 10 May 2017.

Leiva, Kevin. “Dibujos.” Pinterest. N.p., 18 Sept. 2015. Web. 10 May 2017.

Lewis, Luke. “32 Times Video Games Made Absolutely No Sense.” BuzzFeed. N.p., n.d. Web. 10 May 2017.

Lisa Vaughan-Farrell. A personal photo taken of the sunset. Augustana Campus, U of A. 2017

Louis Jacques-Mande Daguerre. Boulevard du Temple 1838 or 1839. Paris. Web. Mar 2017.<http://www.alistairscott.com/daguerre/>

Louis Jacques-Mande Daguerre. Boulevard du Temple 1838 or 1839. Paris. Web. Mar 2017. [Up-close shot of the shoeshiner and their customer]. <http://www.alistairscott.com/daguerre/>

Lynne Hand. “Oculus Rift Speech”. Digital Imagery. Flickr. November 9, 2014. Web. May 2017. https://www.flickr.com/photos/your_teacher/15562360219/in/photolist-pHcavv-oFDRNp-osezQK-eWvkzc-oRfDrQ-nVEozZ-jhtTpH-qTeWxg-qXBe2u-rfb7xk-qiaadG-qink7e-gwd4vC-gup34G-mN81mB-eWcLCo-eXVjJW-qJPZEL-gwdiAF-qXA9jy-hQ2PJU-rg3ktz-kPWEmS-pNPYrc-pHekwN-qUsg1E-sDWTRo-vqdfLH-vq5RYU-rx85VZ-uKPdCx-eWGJUA-vq5RWu-uKDJRQ-ejAfFm-mcz3g5-rFJgNB-rKg81Q-tf3cQV-fGZz79-oMtEUq-fxKK7L-jxuxiv-spFK7W-mJwqCQ-jDsP5g-fHFcVr-eHZcA2-fzr983-reb2gg

Mervyn Peake. Alice Climbing Through the Looking Glass. circa 1945. Pinterest. Web. Mar 2017.  <https://www.pinterest.com/pin/377317275003099926/>

Miki Sato. Late into the Night. Digital Imagery. Date Unknown. Web. Mar 2017.   <https://www.flickr.com/photos/mikisatoillustration/10748228636/>

monkie magazine. “The Flaneur – monkie.05.flaneur.1” (illustrator: George Tsioukis) Flickr. October 1, 2008. Web. May 2017. <https://www.flickr.com/photos/monkiemag/2905894020/in/photolist-5qMt43-nSMbRh-nSUgPu-5qH8LB-5HjMWL-eiTinS-eBvQeZ-efJfUm-fMiBhu-efJfpo-eug5VC-gMNRJd-kE6UYE-bCXKAq-eBygEC-r7tfg4-nUY6vT-fGRpLi-k7zXNT-4ksD1c-efJf95-94QJzy-a7uFsr-tVX2UR-9JtM77-uAkBEQ-4r1jrp-hWvi9V-fH8YvE-jSrSqt-eHRNZC-fMiASj-eHRPgS-m4XSap-mMpKzy-ah4e9U-gMNTAj-kTHiDk-foFKbS-f5q6TL-aAY7LK-hJPiN7-aAY7QP-J3Z4X-hJNqbt-n7bYqr-eNZMGp-eByhQy-kuPcBt-jmKaPL>

Murillo, Bartoleme Esteban. Two Woman at a Window. circa 1660. Spain. Painting, Web. www.nga.gov Mar 2017.<https://www.nga.gov/content/ngaweb/Collection/art-object-page.1185.html>

Nan Palmero. “Oculus Rift Driver”. March 14, 2015. Digital Imagery. Flickr. Web. May 2017. https://www.flickr.com/photos/nanpalmero/16858510411/in/photolist-qUsg1E-rx85VZ-kUAvup-qJPZEL-oTov8v-oTnW2d-o3DZ3n-rFJgNB-oMtEUq-jDsP5g-qUsqAw-ox9xiA-riz3TM-ov9u5h-pencZT-oWS4dH-rf5hWf-ofFEDV-mwhPNt-qKaJBj-ojQTEp-qXBe2u-rQ33GM-rxJuwq-haFiqp-rfb7xk-oxbkVe-qiaadG-qink7e-kUAvFg-eWvkzc-qTeWxg-ofGpXB-haF8H8-oMvrvF-haDY6M-iGTNcL-eWcLCo-haF9bc-eWGJUA-qXA9jy-iVavEz-haDVrh-pencrt-pe6naz-QSc4Tg-jbPGJT-mJUvhK-qXHbwB-jsPeY3

Photograph of Angelina Jolie and four out of her six kids. Photographed by Annie Leibovitz, Vogue. November 2015. <http://www.vogue.com/slideshow/angelina-jolie-brad-pitt-kids-november-cover-2015#1>

Ray Weitzenberg. “Glitch”. October 27, 2010. Digital Image. Flickr. Web. May 2017. <https://www.flickr.com/photos/lightwerk/5121808083/in/photolist-8NAB6V-a41Uex-kPwPb-JAFQdB-3X5hRz-9DSGMx-cSXszh-dDjZRb-e8Drq-3rtFWB-8NABee-9AVYRL-8NDGPE-86Smcu-7mQL1U-sE9WLd-a5pWXK-nyBxCG-8NDGRf-8NDGLw-Sg4Si9-75bbfW-5655Kq-4rbBYZ-8P9WQh-9LV8YX-4BAJsG-5iH2h3-nM1fNu-4wiTtE-oX9LFL-D7RRg-aFbaff-gX4eg6-dpsZUc-dptk2E-dMKrzL-pAh5DE-pvrgUC-cP5ASm-U6A5ZW-7Y2JQa-dptaa9-eNCEy6-dptoyb-dMKrAQ-7NxfTb-dptmMG-dMKrBj-dDjZvm>

r.e. Kittson. “TTL” January 25, 2013. Digital Image. Flickr. Web. May 2017. <https://www.flickr.com/photos/rekittson/8417320595/in/photolist-dPNYaa-a5VmsQ-jatVHd-C12RA-crTVbG-r8ZneP-9SQo8Z-n14UB4-3MTEN7-sNCFk-33wTNk-9GSDCq-jiX3ds-9zu9aq-akQza5-9AmVCD-fE76kJ-nAM1UT-9hA1ni-8DJ7DK-2jmuoP-7Yt8ra-8uTfj7-b3W4Dg-mMxAaB-7BpVUi-9u79VD-6E2HF7-8N1iMy-nuEToz-7Yt8dV-8eG1QS-7qEYGF-c7kKRu-pDsRSS-4MTGz-R42n4S-ahhUSA-nq4L9P-bRWXQv-bD3ePf-qbPGME-7Yt8na-4Zauut-nhVVza-892jMJ-9iAvis-rPVgHk-9cFQTK-r7U5T>

“Real Eyes Realize Real Lies. ” Artist Unknown. <https://9gag.com/gag/96371/real-eyes-realize-real-lies>

ReligiousGamersCh. “Dead Space 2: All Hallucinations.” YouTube. YouTube, 20 Jan. 2013. Web. 10 May 2017.

ReligiousGamersCh. “Dead Space 2: All Hallucinations.” YouTube. YouTube, 20 Jan. 2013. Web. 10 May 2017.

Robert S. Neuman Ship to Paradise – 2 1977. www.bates.edu. Web. Mar 2017. <http://www.bates.edu/museum/exhibitions/past-exhibitions/2013y/ship-to-paradise/#>

Scott Mutter. Untitled (Escalator). Date Unknown. www.photographymuseum.com. Web. Mar 2017. Caption: “I’m a pilgrim on the edge, on the edge of my perception. We are travellers on the edge, we are always at the edge of our perceptions.”  <http://www.photographymuseum.com/mutter/scottmutterNewGallery.html>

Sergey, Galyonkin “Anna Bashmakova and Oculus Rift”. Digital Imagery. Flickr. October 9, 2013. Web. May 2017. https://www.flickr.com/photos/sergesegal/10166365646/in/photolist-e6QuGT-gunhjj-nzNADt-q1Jv1X-q1Auy3-fjsVeP-o3DZ3n-q1JuRD-fv8BUy-rPb5tY-fuTjfD-eQMVC3-oTov8v-myajoY-oTnW2d-eQMYhy-j5au81-gwcD7s-sDWGdd-osenHE-qZ6vJh-oJHVq2-oJHYXT-ose9QN-oJsdyP-oJs6YV-oJHSov-guoHCn-oJJ1d8-ojQTEp-oseei5-j59cBr-osevzG-oJG4Tq-osebPh-oJs9f8-oseoHW-oGG8vm-fp3JPt-nAF2fQ-oGG18L-pHcavv-oFDRNp-osezQK-eWvkzc-oRfDrQ-nVEozZ-jhtTpH-qTeWxg-qXBe2u

Surici, “Why Can’t You See Them Anymore”. May 1, 2015. Digital Imagery. Flickr. Web. May 2017. <https://www.flickr.com/photos/ivy_surici/17308424986/in/photolist-7u31AU-7u31AE-7sUJRk-hYY6rS-hYYQdR-hYY6uY-RFZYL9-MDnkRJ-8NNDQw-snucJs-73E6BZ>

T-shirt entitled “Human Being” from Origin 68 – A sustainable design store. <https://origin68.com/products/humanbeingblack?variant=6438238405>

Tebe Interesno. Title Unknown. Date Unknown. Digital Image. Web. Mar 2017. <tebe-interesno.livejournal.com>

Torley, “Remember the day you deleted your last memory of her face?” September 30, 2014. Digital Imagery. Flickr. Web. May 2017. https://www.flickr.com/photos/torley/15384287776/in/photolist-prsuLY-SSpnNs-52ksCr-SFShvr-rdn6m6-sE9WLd-qGcsNG-iY9AFi-DySLpp-bYuesh-63xeL-evcscu-a3xvTT-o4Jbw8-ei6A76-ei6x7F-a8pUT-eqhegc-nrieos-nmWc9C-6DWf9k-aeeRcA-a7XzWj-fsje4t-qs32i8-nMeXXW-rcjyyJ-pvz8pz-5iGD23-aMxqkk-oaxSht-i9Y9Lf-37rrLk-a5mg1e-51NqNC-ooAWZh-dCmCNA-emUjxL-aH2Ngt-bmcxHK-egwuN1-o6cuWr-7dsJof-Jj8SNL-pN6RKJ-qLupXd-sZn5jE-7hSu7G-eFGbun-6a5iQL

Watkins, Hannah. “Adam Ferriss – Pixel Plays.” WGSN Insider. WGSN, 07 Jan. 2014. Web. 10 May 2017.

Articles

Azzarello, Nina. “Cal Redback Manipulates Human + Nature into Hybrid Botanical Bodies” designboom | architecture & design magazine, <http://www.designboom.com/art/cal-redback-photo-manipulation-human-nature-02-23-20015/>. Accessed April 2017.

Fry, Roger. “The French Post-Impressionists” (1912). Visions and Design. London: Catto & Windus, 1920. p. 156-7.

Hoggins, Tom. “Playdead’s Inside is fiercely intelligent, exquisitely grotesque – and one of the best video games of the year .” The Telegraph. Telegraph Media Group, 30 June 2016. Web. 10 May 2017.

Imgur. “How do you kill?” Imgur. N.p., 11 Apr. 2017. Web. 10 May 2017.

Kohler, Chris. “Inside‘s Tense Horror Is a Worthy Successor to Limbo.” Wired. Conde Nast, 28 June 2016. Web. May 2017. <https://www.wired.com/2016/06/inside-review/>

Tamburro, Paul. “Inside’s Ending Explained: Our Theory On The Limbo Sequel’s Brain-Bending Conclusion”. CraveOnline. July 1, 2016. Web. May 2017. <www.craveonline.ca/entertainment/1005759-insides-ending-explained-theory-limbo-sequels-brain-bending-conclusion>

Quotes

Gaiman, Neil. “Make Good Art”, 17 May. 2012, University of the Arts, Philadelphia. Keynote Speech. <https://www.youtube.com/watch?v=ikAb-NYksel>  Uploaded by Peter Shev [Youtube user] on May 23, 2012. Web. Mar 2017.

Lawrence, Beatrice. “Gender Analysis: Gender and Method in Biblical Study.” Method Matters: Essays on the Interpretation of the Hebrew Bible in Honour of David L. Peterson, edited by Joel M. LeMon and Kent Harold Richards. Society of Biblical Literature, 2001, pp. 333-346.

Videos

Ashwin singh [Youtube user],”WE ACCEPT THE REALITY OF THE WORLD WITH WHICH WE ARE PRESENTED” 01:00, posted 16 Mar, 2013. <https://www.youtbe.com/watch?v=-bLyjGH4ZAE>

Bouchard, Marissa. A Visit: A Short Film. November 2016. Owned by Marissa Bouchard, Augustana. Video via Vimeo. Web. April 2017.

Castillon, Neels “A Bird Ballet” Vimeo. https://vimeo.com/58291553

CRB [Youtube user] “10 Insane Glitches that Actually Make Video Games Better”. Jan 31, 2017. 07:00. Youtube. Web. May 2017. <https://www.youtube.com/watch?v=D8bCcTjcGP0>

Curtis, Adam. “HyperNormalisation.” Vimeo, uploaded by Adam Bhala Lough, January 2017. https://vimeo.com/191817381

Godbey, Cory. “Le Cadeau du Temps.” Vimeo. N.p., May 2011. Web. 10 May 2017. <https://vimeo.com/4621529>

Jacksepticeye. “I AM GOD HERE | Universim #1.” YouTube. YouTube, 24 Mar. 2017. Web. 10 May 2017.

markiplier [Youtube user], “STORE CLERK BLUES | Job Simulator – VIVE” Youtube video, 22:00, posted on April 25, 2016, https://www.youtube.com/watch?v=lwvnT3AQcRM

Nerdwriter 1 [Youtube user] “Ansel Adams: Photography with Intention” Youtube, uploaded by Evan Puschak (nerdwriter1) on March 16, 2016. <https://www.youtube.com/watch?v=7zcancgfDVg>

Nerdwriter 1 [Youtube user] “Atemporality: Our Relationship to History Has Changed” Youtube. Uploaded by Evan Puschak (nerdwriter1) on August 5, 2015. https://www.youtube.com/watch?v=ZAv5EKvRrco

Nerdwriter1. “How Art Can Transform The Internet.” YouTube. YouTube, 06 Jan. 2016. Web. 10 May 2017.

Nerdwriter1 [Youtube user] “The Unique Art of Video Games.” YouTube. YouTube, 13 June 2014. Web. 10 May 2017.

Ridgewell, Thomas. “…in the remaining parallel universes: Meanwhile 3” Youtube, uploaded by Thomas Ridgewell, December 14, 2014. <https://www.youtube.com/watch?v=DWM8g59Pkm4>

Thugnotes. “Are We Living in a Simulation? – 8-Bit Philosophy.” YouTube. YouTube, 31 Jan. 2017. Web. 10 May 2017.

Thugnotes. “What is Real? (Plato’s Allegory of the Cave) – 8-Bit Philosophy.” YouTube. YouTube, 27 Apr. 2014. Web. 10 May 2017.

WIRED, “Oculus Rift: The Age of VR Has Begun”, video via WIRED posted 28 Mar. 2016. Web. Mar 2017. <https://www.wried.com/2016/03/oculus-rift-review-virtual-reality/>

Yoko Ono, Cut Piece. 1965. Posted on Youtube by vbethany [Youtube user] on February, 28 2013. 08:00. Web. Mar 2017. <https://www.youtube.com/watch?v=lYJ3dPwa2tl>

The G/li%tc*h

Lewis, Luke. “32 Times Video Games Made Absolutely No Sense.” BuzzFeed. N.p., n.d. Web. 10 May 2017.

 

The beauty of the glitch.

Watkins, Hannah. “Adam Ferriss – Pixel Plays.” WGSN Insider. WGSN, 07 Jan. 2014. Web. 10 May 2017.
Laine, Michelle. “Security Check Required.” Pinterest. N.p., 26 Jan. 2016. Web. 10 May 2017.

 

katybourne. Image Untitled. November 1, 2014. Digital Imagery. Flickr. Web. May 2017. https://www.flickr.com/photos/bedouindress/15063967394/in/photolist-oX9LFL-D7RRg-aFbaff-gX4eg6-dpsZUc-dptk2E-dMKrzL-pAh5DE-pvrgUC-cP5ASm-U6A5ZW-7Y2JQa-dptaa9-eNCEy6-dptoyb-dMKrAQ-7NxfTb-dptmMG-dMKrBj-dDjZvm-n7vtWo-fPbFQf-7Y5ZZL-bzND4x-bN2KqR-o31x6u-e2R9iN-bmTNRG-T9NXtG-67d3VG-5UnCDC-7NtgEn-ebziiz-HjZSiv-bB7xWn-7Y2KQM-fadhG9-dCgfqF-qYU43g-pUW5qb-eF7yNh-fNU8Lk-dKXGHv-dptkKc-cVgR5S-e8Wzct-9djdMN-ca2uqh-dpt73B-53rYB4

 

And…the remarkably disturbing nature of a glitch

Surici, “Why Can’t You See Them Anymore”. May 1, 2015. Digital Imagery. Flickr. Web. May 2017. <https://www.flickr.com/photos/ivy_surici/17308424986/in/photolist-7u31AU-7u31AE-7sUJRk-hYY6rS-hYYQdR-hYY6uY-RFZYL9-MDnkRJ-8NNDQw-snucJs-73E6BZ>

 

Henry Faber, “Glitch Munch, October 28, 2010. Digital Imagery. Flickr. Web. May 2017 .https://www.flickr.com/photos/henryfaber/5124158626/in/photolist-7u31AU-7u31AE-7sUJRk-hYY6rS-hYYQdR-hYY6uY-RFZYL9-MDnkRJ-8NNDQw-snucJs-73E6BZ

 

Check out this link on rather terrifying glitches within video games:

(#27 is rather unfortunate)

https://www.buzzfeed.com/lukelewis/times-video-games-made-absolutely-no-sense?utm_term=.tlPwQbXkr#.pv5aeLQdN

 

Torley, “Remember the day you deleted your last memory of her face?” September 30, 2014. Digital Imagery. Flickr. Web. May 2017. https://www.flickr.com/photos/torley/15384287776/in/photolist-prsuLY-SSpnNs-52ksCr-SFShvr-rdn6m6-sE9WLd-qGcsNG-iY9AFi-DySLpp-bYuesh-63xeL-evcscu-a3xvTT-o4Jbw8-ei6A76-ei6x7F-a8pUT-eqhegc-nrieos-nmWc9C-6DWf9k-aeeRcA-a7XzWj-fsje4t-qs32i8-nMeXXW-rcjyyJ-pvz8pz-5iGD23-aMxqkk-oaxSht-i9Y9Lf-37rrLk-a5mg1e-51NqNC-ooAWZh-dCmCNA-emUjxL-aH2Ngt-bmcxHK-egwuN1-o6cuWr-7dsJof-Jj8SNL-pN6RKJ-qLupXd-sZn5jE-7hSu7G-eFGbun-6a5iQL

 

How about the glitch in the video game?

A glitch is a significant alteration to the reality the video games represents. It is a disruption of the network, and its effects are very much present.

CRB [Youtube user] “10 Insane Glitches that Actually Make Video Games Better”. Jan 31, 2017. 07:00. Youtube. Web. May 2017. <https://www.youtube.com/watch?v=D8bCcTjcGP0>

 

Then there are the glitches that occur in real life:

“Glitch in the matrix.” Dump A Day. N.p., n.d. Web. 10 May 2017.

I don’t know about any of you, but where I’m from, there are thousands upon thousands of Ford Escapes EVERYWHERE. Take a five minute drive to the grocery, and you’re bound to see about twenty of them. Glitch in the matrix?

What about when glitches are done on purpose. Does that make them art?

This image of a glitch below sort of resembles one of Jackson Pollock’s paintings!

Ray Weitzenberg. “Glitch”. October 27, 2010. Digital Image. Flickr. Web. May 2017. <https://www.flickr.com/photos/lightwerk/5121808083/in/photolist-8NAB6V-a41Uex-kPwPb-JAFQdB-3X5hRz-9DSGMx-cSXszh-dDjZRb-e8Drq-3rtFWB-8NABee-9AVYRL-8NDGPE-86Smcu-7mQL1U-sE9WLd-a5pWXK-nyBxCG-8NDGRf-8NDGLw-Sg4Si9-75bbfW-5655Kq-4rbBYZ-8P9WQh-9LV8YX-4BAJsG-5iH2h3-nM1fNu-4wiTtE-oX9LFL-D7RRg-aFbaff-gX4eg6-dpsZUc-dptk2E-dMKrzL-pAh5DE-pvrgUC-cP5ASm-U6A5ZW-7Y2JQa-dptaa9-eNCEy6-dptoyb-dMKrAQ-7NxfTb-dptmMG-dMKrBj-dDjZvm>

Glitches only speak to the malleability of reality, or at least the malleability of the reality represented in images and alternate, digital worlds. Are they still representing reality in a truthful manner, these images that are erroneous? Or was that ever their goal?

An interview with Scott Findlay:

An Interview with Scott Findlay, a community member and friend.

S: Hope this serves the purpose.

Disclaimer: I know nothing. And some of my opinions about some of these topics may have been formed as I was typing. Hope it makes some sense.

L: What are your thoughts on the virtual/alternate reality that can be found within a video game, or the gaming world itself?  

Video games can be fun and relaxing (obviously :p) but also dangerous. What happens in a video game isn’t “real life”. Video games can give a sense of accomplishment by unlocking things and gaining levels or experience. It is false though. That’s not real life.

 I may have bias though. I should probably give my background so you know where I’m coming from. I got a little addicted to the Call of Duty games when I was younger (age 13-17ish). It did not feel healthy. I’ll leave it at that. 

– Is it healthy to be constantly fluctuating between this world and a digital one?

No. Depending on the scale or intensity of the game, I think its possible people could get them mixed up. Or want to spend more/ all of their time in the video game reality and not the “real reality”. And that’s not healthy.  

 – Is the reality that can be found in a video game any different from the real world we live in? 

Currently, yes. That reality is made up by developers. They take your input from your controls, and give a set output through an algorithm. The output will always be the same if you give the same input. Artificial intelligence is only so intelligent at this point in time. The reality within a video game was created from this reality and is finite.

– Speaking of the “real world”, what makes this world we live in physically, “the real reality”?

Not entirely sure what this is even asking. But I’ll give it a shot anyway.

Videogames still happen in this reality. People in this reality can perceive the “fake realities” of videogames. But the videogames can’t perceive at all. Most people think they themselves perceive what others perceive (albeit from a different perceptive and interpreted differently) but essentially that they perceive the same thing as others. Only one thing happened and they both perceived that thing the one way it happened.

Hope that at least touches on the question posed.

and what makes us think that video games present us with “fake” realities?

Maybe cause when you strip a video game down, it’s just code written in the “real reality” from people who exist only in the “real reality”.

Are the physical and the digital worlds two distinct, separate realities or realms, or are they more similar than we think?

Interesting question. Video games realities exist within the game and the game exists within the “real reality”. Therefore the video game reality is just another part of the real reality? So not distinct realities. Just one with a bunch of sub-realities created from and within the real reality.

Do they intertwine, or overlap? Are the lines demarcating “our reality” and the virtual, digital, alternative reality of the video game, lines that are actually quite porous, lines that allow for crossing over? 

I kind of say what I think about this above but maybe I can reiterate in another way.

These “fake realities” are not separate or different from the “real reality” because they were created solely from the “real reality”. They cannot intertwine or overlap because they’re not separate. Usually videogames do not interact with the “real reality” besides from their input. However, some might be getting there. And they’re always getting updates/ taking more input from the “real reality”.

 – Or are the worlds or realities of the physical world and the digital world, in fact one in the same reality (just a reality with multiple facets and characteristics) 

Yaaaaaa. That’s what I was saying.

Is there such thing as a single, capital “R” Reality? 

I think so. Least I’d like to believe so. Make things complicated if there wasn’t.

What exactly does the word reality mean?

Now there’s a real humdinger.

What does reality entail for it to be considered real?

Pass

What is it about the physical world that makes it real?

42

Is the concept of a reality or multiple realities merely a human made construct, abstraction, or is reality a physical, tangible thing?

Reality is.

Certainly video games are changing our definitions of what reality is.

Not at the moment. Maybe when they’re more intricate.

 – Is there just one reality, or are there multiple realities, infinite alternate realities that we aren’t even aware of…. 

There could be. That is beyond me.

– Are the alternate/virtual realties found in the gaming industry even possible, even real?

No. Not to the degree of the “real reality”.

Can you live in them or live through them, or are they mere appearance, illusion, lies and falsehood?

I imagine someday, you’ll be able to live your life through a videgame (Ready Player 1 – Ernest Cline) good book. But unless that “fake reality” is getting more input from the “real reality”, then the player basically has a finite coded world to “live” in. A big factor is how many players are there? We could put the whole world in one videogame (just like the book ready player 1). Did we move reality? Or is it just a really popular sub-reality? 

This is actually kind of a big topic. You could pretend that a phone call is a videogame. There are two players. The input is the voices. The programming is the voices. Is one living it a sub reality? Too much to think about? Essay question in itself right there.

Do they, even though digital, present some realness, some truth? 

They’re like a calculator; you only get out what you put in. Unless the AI can take two truths and make a third, then you’ll get all the truth you would from playing by reading the code of the videogame.

 – What if the reality we live in right here is the virtual one, and the reality presented in the video game is actually the “real world” (GASP)

Hahaha I said earlier that the videogame can’t perceive at all. And that was the difference between a “fake reality” and the “real reality”. We can perceive though.

– What are your thoughts on Oculus Rift? Is it dangerous, does OR’s future look promising or potentially threatening? 

I don’t think it changes things too much. It’s just a more lifelike interface. It’s probably still pretty primitive to what the videogame station will be like. The one that will suck humanity in.

 – Where do you see the future of video games and technology in general going? Is it intimidating, or exciting to think that we are creating new worlds of possibilities (video games can be considered an art form) 

I think it has a long ways to go. But something like what happens in ready player 1 seems possible. We could move our interactions with each other into a videogame setting. Maybe even for safety purposes.

– Are they truly new worlds of possibilities, if a video game is just a network of coding and numbers that all fit together like a puzzle piece? Is that all that reality is? A series of codes?

It’s all in AI. If AI technology goes far, maybe videogame realities will go far. But if it’s just straight input/output, then it’s not really a reality at all.

– Will technological advancements change the very definition of reality as we know it?

Doubt it.

Will technological advancements change our world in general?

Absolutely.

For good, or for bad? Or for a little bit of both? 

Definitely both. We’ve seen it in history. Technological advancements bring both good and bad.

Why do you think video games actually exist?

Cause we made them.

Why as humans do we yearn for other worlds and other realities different from the familiar one we know and live in? 

Boredom.

– Would you consider video games an art form, a type of art?

Sure

– How Is it that the concept of “strangeness” in video games (strangeness as in going to unfamiliar worlds and being presented with things that we haven’t already been acquainted with) is one we are more familiar with or comfortable with rather than our own reality we live in?

Not exactly sure what this is getting at but that’s not how it is for me. Especially a new videogame. But maybe I’m no longer qualified to answer this question as I don’t play videogames anymore.

– What is your definition of “strange” and “familiar”? 

A thing that one does not know or recognized in any way?

 – Video games can be seen as subverting established definitions of notions of strangeness and familiarity, taking our already preconceived notions of what they are, and flipping them on their head. If we encounter something strange, something unthinkable, something absurd or out of the ordinary in the midst of the digital world, how will it affect the strange things that can be found in the physical world, how will it change (or will it) are own definitions of what we consider to be strange?

It will dull our perception of the strange. But television/movies/news does that enough as is. I don’t know if it’s changing the definition of notions of strangeness of familiarity but I do not think it is changing the definition of strangeness or familiarity. Yet. 

A Reflection:

“Avatar: The Legend Of Korra Computer Wallpapers, Desktop Backgrounds | 1920×1080 | ID:691847.” Wallpaper Abyss. N.p., n.d. Web. 10 May 2017.

This COPLAC digital humanities class itself, coupled with taking it in my final semester of my undergrad education was such a gift, to say the least. It was the perfect way to culminate my years at Augustana.

It was such a pleasure to meet people I’ve never met before, and to work alongside, to discuss, to agree and disagree with all of you. I can’t tell you how much I appreciated our conversations, how honest everyone was when we were all asked about how our weeks were going, and the profound knowledge and wisdom that was shared. I absolutely loved logging on to zoom everyday. It felt like I was walking through a portal into another world, whilst staying in my room (kind of like Oculus Rift) and having the honour to hear your opinions, your perspective, your vast wisdom and knowledge, and your individual, unique personalities of everyone as they shined through while you were giving us a glimpse into the networks of your own mind and life.

The unique aspect of this particular kind of class is that I feel like I know all of you more deeply and more honestly than I do the people in my other classes, the people I’m face to face with physically in the “real” world.

Perhaps the reason for our honesty was because in “reality” we were just sitting in our rooms talking to a computer screen.

But that’s a little pessimistic in my view. I’d like to think it was because we were all looking at each other, instead of all facing the front of the room, looking and focusing solely on the teacher figure. Perhaps that’s a major hindrance for conventional classes: that most of the time, students have their backs to each other. How are we supposed to engage whole heartedly with one another when we’re so disconnected in the classroom? Who came up with that scheme? Is it really fruitful for fostering learning if we’re not even engaged with the surrounding people who are learning with us? It’s the reason why most of us are hesitant to speak up classes, in the most important classes, especially in the classes that are based on controversial topics: it’s a fear of being shut down, a fear of one’s opinions being disagreed upon.

Leiva, Kevin. “Dibujos.” Pinterest. N.p., 18 Sept. 2015. Web. 10 May 2017.

In a COPLAC class like this, the profs are on the same level as the students. Right alongside with us, they’re not placed on a pedestal, and not transcendent in the conversation, but immanent. Instead of focusing on the teacher as the sole source of knowledge, wisdom, and understanding, we focus on one another. And I’ve come to realize that profs — no offence to Yvonne or Janet in any way, shape or form —  are not to be my only focus in class. The students right alongside of me are equally as knowledgeable, equally as valuable as anyone else. I’ve come to realize writing this reflection, that the position of the teachers alongside the students is one of the most powerful and counterintuitive assets a digital class has. It’s certainly why I had such an attachment to everyone in the class, it’s why I not only felt like I knew you all personally, but felt this genuine, selfless respect and curiosity of what other people were saying, instead of just focusing or emphasizing my thoughts and opinions. And whenever someone did share their opinion, regardless of whether we agreed or disagreed on it, there were waves of respect, not of tolerance, but of acceptance, and frankly of love. It sounds ridiculous and cheesy, but that is what respect is. Love is not a sentiment, but a willing the good of the other, as Bishop Robert Barron always says. That person’s right to speak and have their voice heard was certainly respected, but more than that. Our entire class was based on conversation. We learned from each other. There was no other way than to will the good of the other, if anyone wanted to learn anything.

I am so going to miss our conversations. Everyone brought to the table their wide perspectives on life, their understanding, their acknowledgement of their  own imperfection and finiteness, but their wisdom. Oh my goodness, the wisdom. It was such a pleasure and an honour to be in the company of such uniquely wise people.

When Mike and I started this blog, at first, I had no idea where it was going to go, and how it was going to end up. Writing the learning contract was difficult, because I know that things fluctuate, things change throughout the course of time: so to kind of guess in a way, how this blog was going to pan out was hard for me. It massively resembled the class itself. I had no idea what I was getting myself into, taking an online class – especially considering my lack of experience with technology in general – but delving into it, and saying things that I wasn’t so sure how they’d be received, throwing my opinion out to the void, while others did the same thing, piece by piece it came together. Like a puzzle, Mike and I had a fuzzy image of what our project was going to look like. But we had to find the pieces, the right pieces that would fit together to slowly and gradually form the image of what we wanted our blog to look like. The pieces did inevitably come together in the end, but what we want to emphasize is that the picture, the image that the puzzle renders isn’t and cannot be confined to the four corners of a square confinement. Despite having, more or less, almost the pieces of the puzzle of this blog put together, the picture by its very nature is subject to change. In fact it’s too big to be confined to a 500 piece puzzle. What this metaphor is attempting to represent is this: our blog is not finished. It’s certainly no where near being complete. And it never will be, and that’s the beauty of it. It will keep growing, new ideas will constantly be coming to the forefront. Something like this on a topic such as strangeness and familiarity within video games and art, can never really have a due date (and yes, this is a slight jab at again, another conventional aspect of the education system). Our work is never finished. There will never be a day when all of us say “our work here is done”. There is always more to do, more to say, more to accomplish, more people to meet, more conversations to have. And now I’m talking about life itself.

This is what I want to take away from this class and from its main blog project. It is why there is a “to be continued” statement at the end of every blog post. I considered the blog a projection of mind into digital form, and each blog post, a stream of consciousness: jumbled and intermingled, not exactly organized, and not always distinct from other thoughts. In fact, many of our posts intertwine with one another. They’re not so clear cut. Like puzzle pieces, they overlap sometimes in a very complimentary way, and sometimes they cancel each other out.

The blog was my mind’s eye along with Mike’s, in what felt to be, physical form. I felt attached to our blog. It was constantly lurking in some corner of my mind, even during other classes. Someone would make a comment, and instantly I would think “that could go in the blog!!” The blog was constant, like a stream that ran through the entire semester. Conversations, other classes, wanderings on social platforms, and the blog and its theme was present, waiting on the chance to pinpoint and remember something that I could potentially form a puzzle piece with, to perhaps place with the others.

This project reminded me that just because my undergrad is technically done and over with, I will still carry it with me: the important and personal conversations, the streams of consciousness that have taken shape in the form of final papers, the eureka moments that happened more so outside of class than in, and possibly most importantly: the people. There are no due dates, there are certainly expiration dates, but nothing is complete. I will carry what I’ve learned with me in undergrad into the next season, knowing that there is always more to learn, always more classes to take, always more people to engage in conversation with. There is no finality, just a myriad of more possibilities.

Wow! Super cheesy! But I just want to say a very heartfelt thank you so much to Yvonne, Janet, Mike, Donovan, Annika, Margaret, Brendan, Mana, Don, Sarah, and Dominque. Seriously, you guys are the best. To everyone else who made this class possible, thank you so much. And finally to everyone else who will be in the near future, involved with a digital humanities class: enjoy every moment of it.

 

Lisa

 

Artist Unknown. <https://9gag.com/gag/96371/real-eyes-realize-real-lies>

But if lies are “real” then they are no longer lies, but are truth, or have at least a sort of truthfulness to them. Lies exist. Even they have a place in reality. In fact, reality itself is partly constructed with lies. Lies have their faire share in the making of the foundation of what we deem reality.

The “rules” of reality are mere convention, and human made, therefore flexible sub-realities that make up the reality we all know and live in, as the puzzle pieces make up the picture. Those that govern and dictate these rules are too flexible and persuadable. Everything is so alterable.

If you want to define reality, you need to define people. In a way, reality and human beings are indivisible entities. Perhaps, reality is the product of the human race… or the human race is the product of reality.

I exist as a human being. This much I know is true – but what exactly constitutes a human?

T-shirt entitled “Human Being” from Origin 68 – A sustainable design store. <https://origin68.com/products/humanbeingblack?variant=6438238405>

Surely, the definition of what it means to be human, what it means to be, is a human construction, a social construction because we’re looking at humanness from a human standpoint. Same too with reality. We perceive, define and categorize our world from the human stand point, with human eyes, using the facets and aspects of the human self to in fact define and perceive. How can we have “real” eyes when are eyes are just human eyes? We have human ideas concerning our world – how things should work, what things should do, look like, act – and sometimes these ideas of how things should be doesn’t exactly match up with the reality of the situation.

Not every family is as seemingly perfect this. Nor does a photograph portray “real” situations, people as they “really” are. In many ways, the photograph resembles human eyes: things are blurred, things are portrayed in a certain light.

Photograph of Angelina Jolie and four out of her six kids. Photographed by Annie Leibovitz, Vogue. November 2015. <http://www.vogue.com/slideshow/angelina-jolie-brad-pitt-kids-november-cover-2015#1>

Not every evening sunset is going to look or feel like this. In fact, the camera didn’t even effectively capture the sun’s rays and the colours of the sky in the background. The way my eyes saw the sunset was different from how the camera’s eyes saw it.

Lisa Vaughan-Farrell. A personal photo taken of the sunset. Augustana Campus, U of A. 2017

We’re all supposedly human beings, and we all supposedly and somehow live in the or a “reality”. But the way reality and human beings are presented isn’t always true. There’s some degree of falseness to our ways of living, and the ways of living that are advocated for, for the purpose of advertising, the unknown and ominous purposes of popular culture, the media as they exist in mediums like the Vogue magazine, and the purposes of a photograph.

See the common thing about these images is the degree to which the human is present and not so much present. It is as if humans are omnipresent, or at least the ideas and images of us are. Even when it comes to a photograph taken of the sun setting on the Augustana campus, we assume a human being took it – with a camera, but a person operating the camera nonetheless. And if people are as alterable as the digitally enhanced humans on magazine covers, so too is reality. We’re the ones perceiving reality, we’re the ones calling reality, “reality”, we’re the ones allocating things into the “real” and “fake” categories. And If we’re alterable, then so too are our definitions, so too is the/a/our reality.

But then even the fact that there are humans, and there is reality: these two separate words, implies that reality is transcendent, that reality is external to the human existence. What is reality like for the entities that are not human? Is their’s a different reality, or the same reality, just lived and perceived differently. I mean to say that humans are reality is a little egotistical. There is so much more to the world than humans, so much more to be perceived that the human senses can perceive, so many things that do not have a word and definition taped onto them. Just because things are unknowable to a human being, doesn’t make them any less real.

Truth is not empirical, I would argue. There are simply things that we cannot comprehend, things that are invisible, thing we are unable to see with human eyes, but nonetheless real.

Check out this link on Cal Redback’s art, or what he calls “Creative Re-touching”

cal redback manipulates human + nature into hybrid botanical bodies

Azzarello, Nina. “Cal Redback Manipulates Human + Nature into Hybrid Botanical Bodies” designboom | architecture & design magazine, <http://www.designboom.com/art/cal-redback-photo-manipulation-human-nature-02-23-20015/>. Accessed April 2017. 

One interpretation is that these photographs are an amalgamation of both human and nature, unnatural and natural, societal and environmental. But what stands out to us, and for the very purpose of this blog, is that these photographs really express the notion that what can be “captured” can also be manipulated, malleable, effectively changed. These photos of these people were retouched in a way, in such an effective way, as to make it look as if they are actually, truly treebeards: hybrids of both human and nature. It looks so real.

Which makes us wonder, what is real, and what are lies, when the lines that divide “real” and “lie” are erased constantly? When photographs that are obviously not depicting what’s real, like people who have ferns growing out of their noses, are portrayed in a way that makes the subject matter look real, it really begs the question: do the photographs ever depict reality, real-ly?

What Cal Redback does is art. But what is art trying to tell us — if it’s trying to tell us anything at all — that reality can so easily be subject to manipulation, that neither reality nor its depiction is in any sense of word, real. 

Perception of Reality

When we play video games we are usually still aware of our reality. We still hunger, we see the edges of the screen in our peripheral, we feel the controller/keyboard with our hands. The good games are the ones that draw you in and make you forget about your reality, even hunger (at least for a while) and I can personally attest to that.

One of these games is the Dead Space series. A science fiction horror story that has you on the edge of your seat. The fun thing about Dead Space is that they include hallucinations. You, or the character, sees things that aren’t real. But lets think about that statement for a moment. A not real character seeing things that aren’t real? Well that’s any video game isn’t it, because they aren’t real. Yet we find ourselves needing to differentiate what is and isn’t real within something that we believe is not real. So perhaps games are real in a sense the same way a story can be. But back to Dead Space, these hallucinations are believed to be real by the character until proven otherwise. There is one cutscene where an enemy appears and tries to stab your character in the eye with a syringe. When you succeed in stopping them though they disappears and your character is the one holding syringe (pictures below).  Even though it was a hallucination and not real and was likely not believed by the character even, it still had real consequences and was real enough that it needed to be fought off.

ReligiousGamersCh. “Dead Space 2: All Hallucinations.” YouTube. YouTube, 20 Jan. 2013. Web. 10 May 2017.
ReligiousGamersCh. “Dead Space 2: All Hallucinations.” YouTube. YouTube, 20 Jan. 2013. Web. 10 May 2017.

 

In the first game you search for your lover, find her, and then attempt to escape with her. Nearing the end of the escape you learn she died before you even arrived. She was another hallucination the whole time. Yet she seemed so real that this reveal shocked even you the player who is disconnected from their world. Games like these can pull you in and the better they are the less disconnected you feel, and therefore the more real it feels.

 

The Meaning of Reality

In video games we generally enter a new world and experience it through a character that we control. It’s not real, just a game. We know that, but the characters that live in that world don’t. These characters are living their lives in this world without our knowledge that they and their world is not “real”. That their actions are often controlled by us. Does that truly make their world less real or does that just make us a god in their world unknown to them? A god certainly would view the world differently than those living in it. A god could choose to be merciful or cruel and they would curse their fate or bad luck. Each video game a new world with a possibly different god.

For all we know our world could be a game or simulation similar to the Matrix. If we knew, would that change anything? For some they would likely believe that life has lost all meaning but each person gets to choose what meaning is for themselves. The man talked about below believes that life has no inherent meaning and that this leaves us free to give it meaning in ways we choose whether or not others would agree.

http://imgur.com/account/favorites/jbMUY

Imgur. “How do you kill?” Imgur. N.p., 11 Apr. 2017. Web. 10 May 2017.

 

 

An Interview with Jason Chu

 

A really lovely and deeply contemplative conversation with Jason Chu.

Here are a few “digital reproductions” or photographs taken from my iPhone of his artwork to prelude the recorded conversation.

Jason Chu. “Wanderings” Augustana, 2017. If you look closely, you will notice that the clouds/waves can either be clouds or waves, and that the telephone lines placed on top of them kind of look like people looking out into the vast, open unknown that lies beyond them. It’s just an un-used, empty portion of the canvas for us as viewers, but what does it look like for them?

 

Jason Chu, “Tranquility”, Ink on Black Paper. Augustana, 2017.  What’s also another fascinating aspect of this collection or theme of art, is that Jason is using white ink (when the traditional use of ink is black ink) on black paper (when we usually think of a blank canvas as one that is white). It’s not only a fusion of binary opposites, or a dismantling of common notions of what mediums to use. It’s turning the canvas inside out, in a way that is almost indescribable. But the use of white ink and a black canvas goes hand in hand with the subject matter itself: a whale floating past a mountain, above and beyond the water.

 

Jason Chu, “Stranded”, Ink on Black Paper. Augustana, 2017. 

 

Jason Chu, “Blackwood Reader”, Ink on Black Paper. Augustana, 2017.

To stand before the art and bask in its presence, is something else altogether, let me tell you. This reproduction of Jason’s art really doesn’t do it any justice. On a digital platform, it’s now a representation of a representation. Maybe it’s an inadequacy of my phone’s camera that cannot capture the minute detail, or perhaps it is the transference into the digital, where the original artwork’s detail is generalized into pixels, and therefore lost. But without crappy cameras or pixellated images, we wouldn’t be here, would we? There are pros and cons and compromise in everything.

But if you ever are allowed the opportunity to view Jason’s work — or anyone’s for that matter — and if you are able to stand inches away from the surface, see the brushstrokes, each individual line, smudge, or dot of paint, charcoal, or chalk, it really is an honour. Because to see at least a certain extent of the process of the art, is to see a little more into the artist – and that is such an unique experience.

It’s one thing to see and know an artist, but to view the artist through their art, is to see and know them differently, maybe even strangely. Possibly to see and know them more so.

Hopefully, these pictures of these pictures give you at least a small sense of the degree to which Jason views his world: one that is both normal and strange. He subtly yet poetically erases the line between conventional standards/definitions of strange and normal, bringing these two ostensibly binary opposite categories closer. His art comments on the fluidity of our definitions surrounding concepts such as normalcy and otherness, actually inviting us to consider that a thing doesn’t have to fit nicely into either category, but can in fact be BOTH strange AND normal, instead of either or, and instead of clear cut.

The lines created by the brush or the pencil or the charcoal are lines that are not definitive, but porous. This technique replicates in art form, the notion that categories do not have to have definitive lines, but that lines separating categories and definitions are quite permeable.

The most normal things in our world can appear to be the most strange, and the most strangest things in our world, are actually the most normal. Perhaps these two opposite categories are not two distinct and opposite things, but one in the same thing.

We had the privilege to both talk with Jason and view his art. But in a way, the two are no different from one another, but one in the same thing.

Thanks so much Jason!