Digital expression is well understood as a realm of promiscuous substitution, in which signifiers can take any shape or size and cultural work can be accomplished by mashing up disparate sign systems.
- Erik Loyer, Designer's Statement
Alternative views of Critical Sections project data:
All info and conversations from this project page
http://vectors.usc.edu/xml/projects/critical_sections_v1.xml
RSS feed of the conversations from this project page
http://vectors.usc.edu/rss/project.rss.php?project=88
XML feed that drives Critical Sections
http://vectors.usc.edu/issues/06_issue/criticalsections/scripts/retrieve.php

http://vectors.usc.edu/xml/projects/critical_sections_v1.xml

http://vectors.usc.edu/rss/project.rss.php?project=88

http://vectors.usc.edu/issues/06_issue/criticalsections/scripts/retrieve.php
Ephemera
Ephemera are detritus or garbage that people produce without intending it to survive the moment. Categorically speaking and according to the Ephemera Society of America, "Ephemera include paper materials such as advertisements, airsickness bags, baseball cards, currency, board and card games, greeting cards, invitations, labels, menus, paper dolls, postcards, posters, puzzles and puzzle cards, stock certificates, tickets, timetables, trade cards, valentines, watch papers, and wrappers." Nonetheless and perhaps more than any other form of evidence, ephemera encode social objectives in their fragile bodies ”" both ideologies and the shadow of a human touch. That is probably why according to John Grossman of the Collection of Antique Images, studying ephemera provides a way of grasping the everyday expectations and hopes of ordinary people momentarily embedded in the material world.— Jing Chen, Rice University/ Shanghai Jiao Tong University, August 20th, 2012