Mixed media art journal

It is no longer really the real, because no imaginary envelops it anymore. It is hyperreal, produced from a radiating synthesis of combinatory models in a hyperspace without atmosphere.
– Baudrillard

The global/local nexus is yet to be mapped. Cyberspace – space of intersection – local people, big corporations: The Transnational Imaginary

This space is formed by the intersections of our microprocessors. This is what happens when we click on the icons. Think about the effects of your actions in cyberspace, the global effects of your local actions.

To travel the superhighway is to confront the screen as an interface (the screen is the site for meaning-making). The screen, as we know, is ideological. It produces generic audiences and users into specific, coded subjects – it fixes you into a position according to how you will see the images before you – you identify via counter-identification – this is me, or that is not me” –

Governance of the self and others: self-censorship online, and state censorship and restrictions. The emergence of new cultures despite such restriction and regulation. Self-governance: do you use your work/uni email for other purposes? Are you monitored online? Does it produce an addicted but paranoid user?

Hypertext: the linking of structural code to make content. A linking device that takes you from place to place. What happens when you travel through hypertext?

Virtual: imaginary (illusion/false/fiction)
the virtual world, the space of proximity interaction where an explorer can control a representation of themselves

It is imagined, a virtual space that is a mediated network. It reproduces a new identity without a body.
process
I took Cybercultures at university because the topic has fascinated me for as long as I can remember. While I already felt immersed in the online world back then in 2004, I couldn’t have imagined spending most of my time in this virtual space as I do now. So I’ve been ruminating on these ideas since, and here they are presented in a series of collages.
While I’ve been experimenting with collage for a while, for this project I explored new techniques, incorporating drawing, stamping and transparency to transpose feelings of the chaotic and liminal nonspace of remote work.
Materials:
Quotes from Cybercultures, Dr Audrey Yue, University of Melbourne 2004; Simulation and Simulacra, J Baudrillard, 1981; 46 & 2, Tool, 1997.
Pages from The Book of Life, D Harkness, and the Reader’s Digest Illustrated Guide to Gardening in Canada. Dress patterns by Vogue. Music by Telemann.
Various stamps, bubble wrap, brush pen, and ink.
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