Tim,I just finished reading your book. I teared up 3 times and laughed twice. You have done an amazing job! I was thinking to myself how you and Karen are handling all of the changes with such grace. The two of you are such an amazing team and have developed such strong communication skills- you two could probably host a course for other married couples. Another poignant moment for me was on the page where you wrote We also informed our family that we had the disease that did not have a cure... I think the we in that statement is so true.. . . your book- have you anticipated how you will share it? You may want to consider both the MDA and ALSA (ALS Association) as outlets to share your story and tips. I also think you should pass this along to some of your neurology providers. I think your Prologue is an exceptional teaching tool for medical professionals.I still cant stop thinking about how you continually think about your blessings- I am going to tear up again and I am not a crier! I thank you for allowing yourself to be vulnerable and sharing your experiences. You are lucky to have found Karen, and she is lucky to have found you. Amy Callan, OTR, DOT | Outpatient Occupational Therapy Supervisor

Artmaking since the turn of the millennium, using compression algorithms as a descriptive tool.Since the turn of the millennium, contemporary artists have navigated a landscape comprising two worlds: one still indebted to critical operations of the past, and another whose real-time reformatting of culture through swift technological developments asks for an entirely different set of discursive models. The essays in Compression consider these superimposed realities by examining artists’ altered approaches across generations, taking up their new departures—from appropriation to memes, and from site-specific engagements to fabricated narratives—and ultimately looking at how artists have even begun to construct history, and memory, differently in their work. To this end, this volume explores the potential basis of compression algorithms as a descriptive term for these shifts. If such algorithms provide filters through which images are sifted in order to decrease the amount of memory space they occupy—discarding visual information but recasting those remaining details to provide an imperceptibly altered version of reality—how might they aptly characterize artists’ portrayals of contemporary experience? If these algorithms summon memory even while possibly “losing” information, what is similarly lost and gained as contemporary artists are entering a new age? Compressionexamines such questions as presented by the work of artists Chantal Akerman, Sayre Gomez, Pierre Huyghe, Ralph Lemon, Robert Longo, Maria Hassabi, Taryn Simon, Avery Singer, and many others.

This volume takes stock of critical perspectives on the work of New York–based Wade Guyton (born 1972), assembling both expansive, scholarly essays and more concise, journalistic assessments by an international array of authors—Daniel Baumann, Kirsty Bell, Johanna Burton, Catherine Chevalier, Bettina Funcke, John Kelsey, Scott Rothkopf and Peter Schjeldahl among them—offering an invaluable reference for any reader coming to terms with his artistic production. The volume also holds up a mirror to the rapidly changing context for Guyton’s work, which in a few short years shifted from discussions of the widespread use of modernist motifs in art during the early 2000s to others revolving around the artwork, anticipating its continuous circulation as digital media became ubiquitous in art and culture alike.

Tim,I just finished reading your book. I teared up 3 times and laughed twice. You have done an amazing job! I was thinking to myself how you and Karen are handling all of the changes with such grace. The two of you are such an amazing team and have developed such strong communication skills- you two could probably host a course for other married couples. Another poignant moment for me was on the page where you wrote We also informed our family that we had the disease that did not have a cure... I think the we in that statement is so true.. . . your book- have you anticipated how you will share it? You may want to consider both the MDA and ALSA (ALS Association) as outlets to share your story and tips. I also think you should pass this along to some of your neurology providers. I think your Prologue is an exceptional teaching tool for medical professionals.I still cant stop thinking about how you continually think about your blessings- I am going to tear up again and I am not a crier! I thank you for allowing yourself to be vulnerable and sharing your experiences. You are lucky to have found Karen, and she is lucky to have found you. Amy Callan, OTR, DOT | Outpatient Occupational Therapy Supervisor

Artmaking since the turn of the millennium, using compression algorithms as a descriptive tool.Since the turn of the millennium, contemporary artists have navigated a landscape comprising two worlds: one still indebted to critical operations of the past, and another whose real-time reformatting of culture through swift technological developments asks for an entirely different set of discursive models. The essays in Compression consider these superimposed realities by examining artists’ altered approaches across generations, taking up their new departures—from appropriation to memes, and from site-specific engagements to fabricated narratives—and ultimately looking at how artists have even begun to construct history, and memory, differently in their work. To this end, this volume explores the potential basis of compression algorithms as a descriptive term for these shifts. If such algorithms provide filters through which images are sifted in order to decrease the amount of memory space they occupy—discarding visual information but recasting those remaining details to provide an imperceptibly altered version of reality—how might they aptly characterize artists’ portrayals of contemporary experience? If these algorithms summon memory even while possibly “losing” information, what is similarly lost and gained as contemporary artists are entering a new age? Compressionexamines such questions as presented by the work of artists Chantal Akerman, Sayre Gomez, Pierre Huyghe, Ralph Lemon, Robert Longo, Maria Hassabi, Taryn Simon, Avery Singer, and many others.

This volume takes stock of critical perspectives on the work of New York–based Wade Guyton (born 1972), assembling both expansive, scholarly essays and more concise, journalistic assessments by an international array of authors—Daniel Baumann, Kirsty Bell, Johanna Burton, Catherine Chevalier, Bettina Funcke, John Kelsey, Scott Rothkopf and Peter Schjeldahl among them—offering an invaluable reference for any reader coming to terms with his artistic production. The volume also holds up a mirror to the rapidly changing context for Guyton’s work, which in a few short years shifted from discussions of the widespread use of modernist motifs in art during the early 2000s to others revolving around the artwork, anticipating its continuous circulation as digital media became ubiquitous in art and culture alike.