formed for them. This is shown as she stumbled on Hans Ulrich Obrist; an art curator, historian, and critic. Thornton quickly jumped to a conclusion of Obrist’s attitude towards the art world; making her “nonjudgmental participant observer” (Thornton 256) hard to come by. Right from the beginning statement of Hans Ulrich Obrist, it is obvious that Thornton thinks positively of him. “The swiftest conversation I had in Venice was with Hans Ulrich Obrist” (249). Thornton uses the word ‘swiftest,’ which
deconstructs meaning. Nevertheless, this is the condition in which Simon makes a lot of her work—this shifts reality. The most common critical writings on Simon’s work defines her within one or another mode of realism—the hyperreal or aestheticized realism (Ulrich). Hyperreality is as a notion in what is considered real and fiction are effortlessly mixed together so that there is no clear division between where one ends, and the other begins. The layers within image frequently are a depiction of visualization
expresses trauma, disease, and death, beyond what is apparent from a physical body, bringing about a similar synchronization. Works Cited Brison, Susan J. Aftermath: Violence and the Remaking of a Self. Princeton, NJ: Princeton UP, 2002. Obrist, Hans-Ulrich, and Elfasson Olafur. Experiment Marathon. Reykjavik Art Museum, 2014. Robertson, Jean, and Craig McDaniel. Themes of Contemporary Art: Visual Art after 1980. New York:, Oxford UP, 2013. Scarry, Elaine. The Body in Pain: the Making and Unmaking
“Open source as a development model promotes: a) Universal access via free license to a products design or blueprint, and b) universal redistribution of that design or blueprint, including subsequent improvements to it by anyone” (Gerber, Molefe, and van der Merwe 2010) In the past fifteen years, the principles ‘Open Source’ have exploded into the software industry. (Open Source Initiative 2012; Weber 2004) Open software now rivals the market share and quality of closed, commercial products. (Spinellis