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I think one of the most interesting things about web-based art like Rain on the Sea and The Dreamlife of Letters is that they have the power to set the pace at which the audience absorbs the work. For example in Rain on the Sea, the two-word images flash quickly on the screen, with some series of images faster than others.  Because the author set the speed at which the work has to be processed by the audience, this suggests that the audience isn’t meant to linger on or even grasp every word, but rather an overall impression or feeling from the work. Even though it would theoretically be possible to screencap every image in Rain on the Sea and compile them into a printed piece, the work would lose its element of speed as it is transferred to a new medium.

I also thought it was interesting that although the medium that Brian Kim Steffans chose for The Dreamlife of Letters can be interactive, he did not allow the audience to interact with the work because it “didn’t seem right to let the viewer in that way.”  Steffans had power over how much his audience would be able to actively engage with and manipulate his work. Electronic mediums such as Adobe Flash allow artists control over the way that the work is presented, digested, and interacted with to an extent not possible with other mediums.

-Nicola Overstreet

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