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Fragments: communication in contemporary techonology
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Content
FRAGMENTS:
COMMUNICATION IN CONTEMPORARY TECHNOLOGY
by
Caixi Song
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the Requirements for the Degree
MASTER OF FINE ARTS
(DESIGN)
May 2020
Copyright 2020 Caixi Song
ii
TABLE OF CONTENTS
List of Figures .................................................................................................................................... iii
Abstract .............................................................................................................................................. iv
Fragments: Communication in Contemporary Technology ............................................................... 1
The Waste Land and Its Contemporary Significance ......................................................................... 1
Significant Prior Projects .................................................................................................................... 2
Fragments: Project Overview ............................................................................................................ 4
Video Component ............................................................................................................................... 5
Typography Component ..................................................................................................................... 7
Conclusion ........................................................................................................................................ 17
References ........................................................................................................................................ 19
iii
Figures
Figure 1. “Dyslexia” from Five Oceans in A Tea Spoon by Warren Lehrer .............................. 3
Figure 2. Nicky D. from L.I.C. : a narrative portrait by Warren Lehrer. .................................. 4
Figure 3. A Game of Chess. Video by Caixi Song. .................................................................... 6
Figure 4. A Game of Chess. Video by Caixi Song ..................................................................... 6
Figure 5. Glossary page from Fragments: Burial of the Dead by Caixi Song ........................... 8
Figure 6. Page from Fragments: Burial of the Dead by Caixi Song .......................................... 9
Figure 7. Page from Fragments: Burial of the Dead by Caixi Song ........................................ 10
Figure 8. Page from Fragments: Burial of the Dead by Caixi Song ........................................ 11
Figure 9. Page from Fragments: A Game of Chess by Caixi Song .......................................... 13
Figure 10. Fragments artist book by Caixi Song. ....................................................................... 16
Figure 11. A comparison of Fragments: The Burial of the Dead artist book and an iPhone X. 17
Figure 12. Cover page of Fragments: A Game of Chess artist book by Caixi Song .................. 17
iv
ABSTRACT
Fragments is a graphic design and videography project that uses T.S Eliot’s The Waste
Land, a modernist montage of post-war Western society, as the basis of content and theme.
Through expressive typography, sound and collage, I draw comparisons between analog and digital
media; a literary canon and contemporary cultural production; The Waste Land and its
interpretation. By translating Eliot’s poem into a contemporary context and medium, my project
reexamines the lingering sense of crisis that extensively haunts modern society.
Keywords: literature, graphic design, digital, analog, creative typography, expressive typography,
visual poetry
1
Fragments: Communication in Contemporary Technology
Thanks to the fourth industrial revolution – the adoption of cyber-physical system and the
internet,
1
never before have people had such convenience and opportunities to establish social
connection, indulge in entertainment, and polish their self-presentation. At the same time, never
before have people been so fragmented by “virtual networks”,
2
as every bit of our attention can
and will be “transformed into capital”.
3
As a designer who understands the enterprises that count
human attention as capital, I aim to visualize that alienation and dehumanization born to
technological development. My thesis project, Fragments, uses T.S Eliot’s The Waste Land, a
canonical text addressing social crisis after the second industrial revolution, as a basis for
revealing the social crisis in the contemporary information age.
The Waste Land and Its Contemporary Significance
Eliot’s The Waste Land is a perfect foundation for a modern visual recreation as it
provides the three necessities for a design project about social discourse: textual content, visual
content and representational method. Written after the second industrial revolution, the poem
depicts the meaninglessness in human communication, interaction and the loss of cultural
identity in Western society. Besides addressing a universal theme, The Waste Land also
composes a variety of visual imagery ranging from classical reference to city panorama. Lastly,
Eliot organizes his content with a unique methodology, which Pericles Lewis best describes:
The method of assembling “fragments” or “broken images” from the past into a sort of
mosaic allows him (Eliot) at once to suggest parallels between contemporary problems
and earlier historical situations and to disorient the reader, turning the reading process
1. Bernard, Marr., “The 4th Industrial Revolution Is Here - Are You Ready?” Forbes, August 13, 2018.
https://www.forbes.com/sites/bernardmarr/2018/08/13/the-4th-industrial-revolution-is-here-are-you-
ready/#57a8f6a0628b.
2. Berardi, Deleuze, G., Lapoujade, D., & Preciado. (2009). The Soul at Work. Los Angeles: Semiotext Foreign
Agents Press, 24.
3. Berardi, 24.
2
into a model of modern, urban confusion. It parallels the cubist use of collage, calling
attention to the linguistic texture of the poem itself and to the material.
4
Borrowing Eliot’s methodology, my project Fragments, consists of a series of artists
books and another series of videos. I aim to render the “contemporary problems” of our
generation by visually juxtaposing them with Eliot’s depiction of “earlier historical situations” in
a fragmentary manner. My intention with the project is to create a “semblance”
5
of narration just
like the original The Waste Land instead of a coherent body of work, because I believe fragments
are the best suited form for this project in a contemporary context. Eliot disintegrated, rewrote
and in a way reduced earlier literature canons to construct The Waste Land. In the same method,
I disintegrated, reassemble and also in a way reduced the chapters from Eliot to construct my
project, in order to capture viewers’ attention in the “precariousness of virtual networks”
6
of our
society, where “every fragment of mental activity must be transformed into capital”.
7
Thus, I
believe that a handful of “fragments” is the only fitting form of my project as coherent pieces can
no longer capture audience anymore.
Significant Prior Projects
Though there are no projects holding direct similarity to my thesis project, there are
existing typography or motion graphic projects providing inspiration in terms of style and
method. Five Oceans in A Tea Spoon, a collection of visual poems co-created by designer
Warren Lehrer and writer Dennis Bernstein, is a brilliant example for using typography to
visualize syntactical meaning. My project also borrows from Warren Lehrer’s Nicky D. from
4. Lewis, Pericles. The Cambridge Introduction to Modernism. Cambridge: Cambridge University Press, 2011.
5. Jenkins, Lee., & Davis, Alex. (2007) The Cambridge Companion to Modernist Poetry. Cambridge University
Press.
6. Berardi, Deleuze, G., Lapoujade, D., & Preciado. (2009). The Soul at Work. Los Angeles: Semiotext Foreign
Agents Press, 24.
7. Berardi, Deleuze, G., Lapoujade, D., 24.
3
L.I.C. : a narrative portrait in terms of expressive typography.
Figure 1. “Dyslexia” from Five Oceans in A Tea Spoon. Created by Dennis Bernstein and
Warren Lehrer and, 2019. From Warren Lehrer Body of Work. https://warrenlehrer.com/five-
oceans-in-a-teaspoon/.
4
Figure 2. Nicky D. from L.I.C. : a narrative portrait. Created by Warren Lehrer and, 1995. From
Warren Lehrer Body of Work. https://warrenlehrer.com/nicky-d-l-c-narrative-portrait-1995/.
Besides publications, my project also pushes the extent of expression to a more
immersive experience, overlaying sound and visual footage on top of Eliot’s reading of the text
to create a series of videos. In order to connect a modernist poem to our contemporary life and
construct criticism on digital information age, my project incorporates the” screenlife”
cinematographic style, which consists of screen recording on a phone or a laptop interface. Video
art projects that encourage similar discourses or adopt similar style include work by artists Jillian
Mayer, Dale Herigstad, and Annie Burdick.
Fragments: Project Overview
My thesis project is divided into two major components, the first portion being expressive
typography, which transforms The Waste Land with dynamic layout, color, font and visuals. The
5
second component is a series of videos, which overlays screen life footage on Eliot’s reading of
The Waste Land.
Video Component
Design System
As digital screens become the major platform for work, communication and
entertainment in contemporary life, the cinematographic style “screenlife” came to the surface of
video art and movies.
8
When viewing screen recording, the viewer is placed in the position of the
protagonist and as a result can undergo a first-person perspective. Thus, my project takes footage
of daily activities such as texting, navigating, posting on social media and pair it with Eliot’s
reading of The Waste Land to achieve satire and social criticism, while creating a dissonant
viewing experience for viewers. For instance, in the first video piece, my project bases a texting
scene on a conversation between two unnamed speakers. In one particular interaction, one person
speaks while the other remains silent: “‘Speak to me. Why do you never speak? Speak. / ‘What
are you thinking of? What thinking? What? / ‘I never know what you are thinking. Think.”
9
This
one-sided dialogue repeats the pattern of an interrogative followed by an imperative. The video
features this dialogue with voices of a man and a woman as audio, and with footage on an
iMessage interface with accelerated texting, transforming the interrogatives to a texting activity.
When the female voice asks “do you remember nothing”, the screen no longer remains on the
texting scene but fades black as the male voice remembers something with literary allusion to the
past: “I remember those are pearls that were his eyes”.
10
8. Wei, E. (2018, December 22). Screenlife Films and Immersion Cinema. Retrieved from
https://medium.com/emergent-concepts-in-new-media-art/screenlife-films-and-immersion-cinema-ae784f2a6ea5.
9. Eliot, T. S., & Michael, North. (2001). The Waste Land. New York: W. W. Norton & Company, Inc., 9.
10. Eliot, T. S., & Michael, North. (2001). The Waste Land. New York: W. W. Norton & Company, Inc., 9.
6
Figure 3. A Game of Chess. Video by Caixi Song. 2020. https://www.caixisong.com/the-
wasteland.
Figure 4. A Game of Chess. Video by Caixi Song. 2020. https://www.caixisong.com/the-
wasteland.
Objects of Design
Similar to my typography, my videos are broken into short pieces to accentuate the
fragmented nature of the project as well as to cater to the shortening attention span of viewers. A
total number of three videos are made, titled “What Are You Thinking?”, about communication,
7
“Unreal City”, about industrialization and social media, and “Tiresias’ Prophecy”, about casual
sex encounters.
Typography Component
Design System
With a combination of editorial typography, illustration and images, the project includes
a series of artist books which revitalize classical poetry and provide a juxtaposition between the
past and the future, digital and analog. In order to work with a fragmented source while
broadening its meaning and adding perspective from contemporary life, my project sets up a
visual language system to manage different groups of information. The system determines the
visual formatting of three main textual elements:
1. The main The Waste Land narration is presented in the font Gill Sans, a robust and
classic voice designed by Eric Gill, a type designer as well as an acquaintance to T.S
Eliot.
11
2. Lines and sentences that Eliot directly referred to, such as lines from John Milton and
Shakespeare, are expressed in the font Times New Roman.
3. Narrations that can be extrapolated to have a contemporary significance are
expressed with fonts commonly used by a relating brand in its digital interface, such
as Helvetica or Arial. These parts of the narration are also paired with visual
reference to its branding and digital context, including logos, message bubble, and
chat interface.
11. Eliot, T. S., & Eliot, Valarie. (2014). The Letters of T.S. Eliot: Volume V: Collected and Uncollected Poems. Great
Britain: Yale University Press. (198).
8
Figure 5. Glossary page from Burial of the Dead by Caixi Song. 2.79” x 5.65”. 2020.
https://www.caixisong.com/the-wasteland.
One example of the usage of this design system is provided below. One of the major motifs
that Eliot uses in The Waste Land is “nothingness”, the absence of meaning in contemporary life.
As he takes the reader through London, readers absorb multiple scenes in which people seem to be
living for the sake of living. The reader first encounters nothingness through Eliot’s descriptions of
the crowds commuting into London for work:
Unreal city/ under the brown fog of a winter dawn,
A crow flowed over London Bridge, so many,
I had not thought that death and undone so many.
Sighs, short and infrequent, were exhaled,
And each man fixed their eyes before their feet.
12
12. Eliot, T. S., & Michael, North. (2001). The Waste Land. New York: W. W. Norton & Company, Inc.,7.
9
Figure 6. Page from Burial of the Dead by Caixi Song. 2.79” x 5.65”. 2020.
https://www.caixisong.com/the-wasteland
In this passage, Eliot alludes to Charles Baudelaire’s Les Sept vieillards and Dante’s
Inferno in describing the commuting crowds. Eliot translated Baudelaire’s text into
“Unreal city, city full of dreams, where ghosts in broad daylight cling to passers-by”.
13
In his
poem, Baudelaire depicts the disillusionment and placelessness of passengers in modern city,
where “the fog magnified the houses either side of that sad street”. In the next lines, Eliot quotes
Dante, who utters the line “I had not thought death had undone so many” when he approaches the
vestibule to hell and sees crowds of people trapped outside its gates, condemned to wander there
forever because they could not choose virtue or vice in life. By mapping this idea of failing
to choose onto his contemporary Londoners, Eliot suggests that their lives mean nothing because
they do not exercise their free will.
13. Eliot, T. S., & Michael, North. (2001). The Waste Land. New York: W. W. Norton & Company, Inc., 7.
10
Figure 7. Page from Burial of the Dead by Caixi Song. 2.79” x 5.65”. 2020.
https://www.caixisong.com/the-wasteland.
In the expressive layout, the project aims to reveal the classical lines which Eliot bases his
lines on to show the subtle parallel and changes, creating a new way of displaying reference and
allusion. On top of setting Eliot’s lines and its allusion side by side, my project also incorporates
the third voice demonstrating why these lines matter to contemporary readers. In this example, the
commuting Londoners are no different from our modern commuters, whose lives are negatively
changed by the distance to work.
14
Though now commuters do not walk across London bridge,
their daily routes are manipulated by freeways, traffic conditions and navigation tools. Thus, the
visual layout refers to Google Map’s type and icon to illustrate a communal commuting
experience.
14. Frakt, A. (2019, January 21). Stuck and Stressed: The Health Costs of Traffic. Retrieved from
https://www.nytimes.com/2019/01/21/upshot/stuck-and-stressed-the-health-costs-of-traffic.html.
11
Figure 8. Page from Burial of the Dead by Caixi Song. 2.79” x 5.65”. 2020.
https://www.caixisong.com/the-wasteland.
As stated in the previous section, the font and icon glossary outlines the commercial brands
that reshaped human interaction, communication and mental health in modern society.
15
These
fonts, color and icons are used as visual motifs to bring the original The Waste Land narration to
contemporary context on lines about conversation, industrialization or when there is a direct
reference to a product which is monopolized by certain brand. A few cooperate portals have
become the “primary content providers”
16
of our daily life, while small businesses are pushed out
to the corner while these corporates expand and come into competition. For instance, the YouTube
identity is referenced at the line “I will show you fear in a handful of dust”.
17
This line, which
could be interpreted to be an address to mortality, nothingness and death, is tagged with
15. Choundhury, M. D. C. M. (2013). Measuring the relationship between social media use and addictive behavior
and depression and suicide ideation among university students. Proceedings of the 5th Annual ACM Web Science
Conference, 47–56. doi: https://doi.org/10.1145/2464464.2464480.
16. Dixon, Wheeler Winston. Streaming: Movies, Media, and Instant Access. Lexington, Kentucky: University Press
of Kentucky, 2013. Accessed February 24, 2020. doi:10.2307/j.ctt2jcs6f, 3.
17. Eliot, T. S., & Michael, North. (2001). The Waste Land. New York: W. W. Norton & Company, Inc., 5.
12
YouTube’s play button to demonstrate the terrifying fact that the largest online streaming platform
is now dominated by nothing but “advertising” and “monetization of content”.
18
In Chapter Two of The Waste Land, Eliot depicts a man and a woman having a meaningless
conversation in which the woman insists on pressing the man to speak. The man at first reminisces
about the past, but soon gets occupied by “that Shakespeherian rag”, which is a ragsong popular at
Eliot’s time, of which lyrics goes:
Bill Shakespeare never knew /
Of ragtime in his days /
But the high browed rhymes, /
Of his syncopated lines, /
You'll admit, surely fit, /
any song that's now a hit, /
So this rag I submit.
19
The song was a parodied version of Shakespeare’s plays, and an “unsuccessful orphan”
20
in the
current music industry. The narration cites the song as a response to the question “is there nothing
in your head”. It seems that lyrics of the music, a handful of fragments referring to Shakespearean
plays, are oblique memory from the past that is no more meaningful than an unpopular pop song.
In my project, an Apple Music sign hangs on top of the type and fills the page as colorful noise,
and the phrase “Shakespeherian rag” is highlighted in standard Apple font, suggesting that the
classical work has been reduced to disposable pop commodities.
18. Dixon, Wheeler Winston. "Streaming the World." In Streaming: Movies, Media, and Instant Access, 129-68.
Lexington, Kentucky: University Press of Kentucky, 2013. Accessed February 24, 2020. doi:10.2307/j.ctt2jcs6f.7., 22.
19. Eliot, T. S., & Michael, North. (2001). The Waste Land. New York: W. W. Norton & Company, Inc., 51.
20. Guerrieri, Matthew. "That old classical drag". Retrieved from https://sohothedog.com/2017/03/10/that- old-
classical-drag/.
13
Figure 9. Page from A Game of Chess by Caixi Song. 2.79” x 5.65”. 2020.
https://www.caixisong.com/the-wasteland.
Another sample of a complex use of visual motifs can be found in my design of Chapter
Three, The Fire Sermon. Although Eliot published The Waste Land in 1922, he had a surprisingly
prophetic vision toward sex. Specifically, he predicted that indulging in sex without intimacy
would have tremendous social and emotional repercussions. Today, social studies confirmed and
delineated those repercussions. In a 2014 survey, half of the participants reported negative
consequences, not related to health concerns but mostly “relationship and social issues”.
21
A more
recent survey reported the reasons of regret to be “regret over a specific partner”, “sexually
unsatisfied,” and “embarrassment”.
22
In addition, hookup culture could exacerbate preexisting
emotional or metal difficulties,
23
In 1922, with poetic narration, Eliot pictured the timeless consequences of what is now
21. Lyons, Heidi A., Wendy D. Manning, Monica A. Longmore, and Peggy C. Giordano. "Young Adult Casual Sexual
Behavior: Life-Course-Specific Motivations and Consequences." Sociological Perspectives 57, no. 1 (2014): 79-101.
Accessed February 24, 2020. www.jstor.org/stable/44289987, 87.
22. Napper, L. E., Montes, K. S., Kenney, S. R., & Labrie, J. W. (2015). Assessing the Personal Negative Impacts
of Hooking Up Experienced by College Students: Gender Differences and Mental Health. The Journal of Sex
Research, 53(7), 766–775. doi: 10.1080/00224499.2015.1065951.
23. Napper, L. E., Montes, K. S., Kenney, S. R., & Labrie, J. W. (2015).
14
known as hookup culture. Today, grounded in design principles and statistical data, my project
uses typography and color to visualize the dehumanizing indifferent sexual encounters. In the
poem, Eliot portrays a sexual tryst between the “typist” and the “young man carbuncular” as the
two engage in a meaningless and unfulfilling intercourse:
The meal is ended, she is bored and tired, /
Endeavors to engage her in caresses /
Which still are unreproved and undesired. /
Flushed and decided, he assaults at once; /
Exploring hands encounter no defense; /
His vanity require no response, /
And makes a welcome of indifference.
24
After their date, the young typist is “bored and tired,” and accepts her partner’s
“unreproved and undesired” sexual advances. Furthermore, the “young man carbuncular” does not
seem to mind at all: the encounter is about himself as “his vanity” requires “no response, / And
makes a welcome of indifference.” His motivation surprisingly matches Sociological Perspectives’
reading of past studies, which states a convention motivation for casual sex is to enhance “social
status among peers”,
25
implying that there is no human connection between the participants
through this sexual encounter. The woman is indifferent to care while the man is vain.
Furthermore, the character Tiresias witnesses the sexual encounter, suggesting that contemporary
values bastardize our heroic past. The most famous prophet in Greek mythology and literature,
Tiresias, is capable of foretelling tragedy and heroism while his physical blindness allows him to
see the future from an overarching mythical perspective. He helps Odysseus to communicate with
the dead and guides him to return home to Ithaca, and warns Narcissus’ mother to never allow her
son to see his own reflection. In Oedipus Rex, Tiresias sees Oedipus’ fulfilment of the prophecy
24. Eliot, T. S., & Michael, North. (2001). The Waste Land. New York: W. W. Norton & Company, Inc., 13.
25. Lyons, Heidi A., Wendy D. Manning, Monica A. Longmore, and Peggy C. Giordano. "Young Adult Casual Sexual
Behavior: Life-Course-Specific Motivations and Consequences." Sociological Perspectives 57, no. 1 (2014): 79-101.
Accessed February 24, 2020. www.jstor.org/stable/44289987, 81.
15
that he will eventually kill his father and marry his mother. In sum, Tiresias has guided and
witnessed the rise and fall of heroes, amongst a variety of other mythological narratives that have
shaped our understanding of the human condition. However, in The Waste Land, Tiresias’
prophetical ability is used to predict the indulgence and vanity prevalent in what we now know as
hookup culture, as he sees even before the arrival of the young man: “I Tiresias… perceived the
scene, and foretold the rest - / I too awaited the expected guest.”
26
Then, Tiresias is reduced to a
Peeping Tom who sees the sexual encounter over and over again: “And I Tiresias have
foresuffered all / Enacted on this same divan or bed; / I who have sat by Thebes below the wall /
And walked among the lowest of the dead.”
27
In Eliot’s contemporary society, acts of heroism,
kings, and gods have been replaced by meaningless and indulgent pleasure. There is nothing for
this once great prophet to see and learn, nor anyone for him to guide. Humanity has fallen far from
its heroic past.
Applying the visual language system to this antithesis between a heroic past and corrupt
present, my approach fills the page with Tinder app’s bright magenta and orange color. Intercourse
is depicted in Tinder’s signature font, rounded Gotham, forming a stark contrast between the
dynamic, slick style and the inactive, apathetic mood of the sexual encounter. Tiresias’ narration is
presented in the Cheltenham Oldstyle font with a gradient between modest grey and the gaudy
pink, as he wavers between two sets of cultural identity.
Objects of Design
The typographic component of my project leads to printing and publication. To further
emphasize the “fragmented” nature of the poem as well as the contemporary way of retrieving
information, the typography is divided into four sections, each in its own artist book.
26. Eliot, T. S., & Michael, North. (2001). The Waste Land. New York: W. W. Norton & Company, Inc., 13.
27. Eliot, T. S., 13.
16
The booklet is 2.79” x 5.65”, in the size of an iPhone X, which has become one of the most
common reading devices. Alternative printing sizes include size of iPhone X plus, iPad, and maybe
Kindle. Eventually, the scaling reaches the size of a screen, which leads back to the other
component of the project, the video series.
Figure 10. Fragments artist book by Caixi Song. 2.79” x 5.65”. 2020.
https://www.caixisong.com/the-wasteland.
17
Figure 11. A comparison of Fragments: The Burial of the Dead artist book and an iPhone X by
Caixi Song. 2.79” x 5.65”. 2020. https://www.caixisong.com/the-wasteland.
Figure 12. Cover page of Fragments: A Game of Chess artist book by Caixi Song. 2.79” x 5.65”.
2020. https://www.caixisong.com/the-wasteland.
18
Conclusion
Why this project, then? When Eliot faced the same questions, he seemed to imply that his.
The Waste Land was no more than “a piece of rhythmical grumbling”,
28
as he wrote, “The more
approving critics said that I had expressed 'the disillusion of a generation', which is nonsense. I
may have expressed for them their own illusion of being disillusioned, but that did not form part of
my intention.”
29
However, the fact is Eliot’s poem was much more than grumbling despite his
claim that it was only expressing his own sense of the disillusion. Readers were “stopped dead”
30
by it because they felt as if they shared the same despair. The difference between the author and
the reader is that the author chose to create and express. To express his sense of disillusion and
despair, Eliot wrote: “These fragments I have shored against my ruins”.
31
What are the fragments,
then? The entire poem is a disintegrated narration of the allegory about the fisher king and holy
grail constructed from earlier works like an incomplete puzzle. It is not impossible, then, that the
“fragments” the fisher king shored to hold his world together are literary canons from the past. As
a reader myself, my own sense of disillusionment is expressed by Eliot, since I empathize with the
fisher king by the ruins held up by canons from the past. Thus, this project allowed me, a designer
and artist myself, t visualize my own ruins and my fragments. At the same time, it is likely that
viewers will find something about themselves within the lines, images and videos, and learn
something about what and how they communicate in the contemporary world.
28. Bloom, Harold. T.S. Eliots The Waste Land. New York: Chelsea House, 2007, 54.
29. Eliot, T. S. Poems of Eliot Volume I: Collected and Uncollected Poems. London: FABER AND FABER, 2018,
576.
30. Vendler, Helen. (1996) Part of Nature, Part of Us: Modern American Poets. United States of America: Harvard
University Press.
31. Eliot, T. S., & Michael, North. (2001). The Waste Land. New York: W. W. Norton & Company, Inc., 20.
19
References
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D. J., & Lehrer, W. (2019). Five oceans in a teaspoon. Guttenberg, NJ: Paper Crown
Press.
Bernard, Marr., “The 4th Industrial Revolution Is Here - Are You Ready?” Forbes, August 13,
2018. https://www.forbes.com/sites/bernardmarr/2018/08/13/the-4th-industrial-
revolution-is-here-are-you-ready/#57a8f6a0628b.
Berardi, Deleuze, G., Lapoujade, D., & Preciado. (2009). The Soul at Work. Los Angeles:
Semiotext Foreign Agents Press.
Bloom, Harold. T.S. Eliots The Waste Land. New York: Chelsea House, 2007, 54.
Buck, Gene., & Ruby, Herman. The Shakespeherian Rag. 1912
Choundhury, M. D. C. M. (2013). Measuring the relationship between social media use and
addictive behavior and depression and suicide ideation among university students.
Proceedings of the 5th Annual ACM Web Science Conference, 47–56. doi:
https://doi.org/10.1145/2464464.2464480
Dixon, Wheeler Winston. Streaming: Movies, Media, and Instant Access. Lexington, Kentucky:
University Press of Kentucky, 2013. Accessed February 24, 2020. doi:10.2307/j.ctt2jcs6f.
Dixon, Wheeler Winston. "Streaming the World." In Streaming: Movies, Media, and Instant
Access, 129-68. Lexington, Kentucky: University Press of Kentucky, 2013. Accessed
February 24, 2020. doi:10.2307/j.ctt2jcs6f.7.
Eliot, T. S., Pound, E., & Eliot, V. (2010). The waste land: a facsimile and transcript of the
original drafts including the annotations of Ezra Pound. London: Faber and Faber.
Eliot, T. S., & Michael, North. (2001). The Waste Land. New York: W. W. Norton & Company,
Inc., 9
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Asset Metadata
Creator
Song, Caixi
(author)
Core Title
Fragments: communication in contemporary techonology
School
Roski School of Art and Design
Degree
Master of Fine Arts
Degree Program
Design
Publication Date
04/30/2020
Defense Date
03/01/2020
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
analog,creative typography,digital,expressive typography,graphic design,Literature,OAI-PMH Harvest,visual poetry
Language
English
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Electronically uploaded by the author
(provenance)
Advisor
Wojciak, Ewa (
committee chair
), Ellenburg, Jason (
committee member
), Greiman, April (
committee member
)
Creator Email
caixison@usc.edu,cxsong07@gmail.com
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-c89-292920
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UC11665361
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etd-SongCaixi-8365.pdf (filename),usctheses-c89-292920 (legacy record id)
Legacy Identifier
etd-SongCaixi-8365.pdf
Dmrecord
292920
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Thesis
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Song, Caixi
Type
texts
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University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
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The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...
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Tags
analog
creative typography
expressive typography
graphic design
visual poetry