All the News That’s Fit to Print by Jody Zellen :: The Wave by Heather Raikes :: Digital Paintings by Karin Kuhlmann :: A Sky of Cinders by Tim Lockridge :: Marginalia in the Library of Babel by Mark Marino :: Semantic Disturbances by Agam Andreas :: (NON)sense for to from Eva Hesse by Carrie Meadows.
New Media Writing and Digital Art
In the new tradition of including the realm of digital art in the journal, there are several pieces in this issue that can be considered solely digital art, and those that bridge the line between art and hypertext. Karin Kuhlmann’s three-dimensional algorhythmic works create a similar satisfaction to viewing a traditional canvas, but are amazing in their digital method.
Digital writing rarely appears in such a way that demands the reader remain within a sequential order of screens. Hypertext relies on surprising associations and non-linear linking to keep the reader’s interest. There are several pieces in this issue that bridge the distinctions of new media writing and digital art. For instance, Jody Zellen’s “All the News That’s Fit to Print,” uses text from The New York Times to create a beautiful and effective piece of interactive art. Zellen’s work incorporates a type of found poetry consisting of juxtaposed headlines which the reader can keep clicking to create new lines. This is work that is both visually satisfying and pertinent. The reader is able to create her or his own meanings with each new page. In a similar way, Heather Raikes’ “The Wave,” uses choreography and visually stimulating links along with original text to create the world of the piece.
The work of A. Andreas also functions as digital art. Andreas’ pieces do not move from node to node, as the aforementioned works, but exist as artistic compositions that use movement and color to create the tone of each work. Words appear unexpectedly, in a less linear fashion, and contribute to the associations the viewers make for themselves.
Lauren Goldstein, Managing Editor
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