The Lost

Life Inside Art

This page blurs the boundary between performance and visual narrative, introducing comic-style elements that reinforce fragmentation and interpretation. It mirrors ergodic structures by forcing readers to navigate panels, text bubbles, and disrupted timelines in unconventional ways.

PATHS.

Which way will you go?

The Lost /
The Dead

Non-linearity in Filmmaking

A short film on the freedom of youth and the consequences of that raw energy. Where do your feet lead you, and are you in control of them? 

Dance

The Stars /
The Grandmother

The Paper Theatre

A short film on the freedom of youth and the consequences of that raw energy. Where do your feet lead you, and are you in control of them? 

Dance

Footnotes & References

  • Core Theoretical Foundations:

    1. McCloud, S. (1993). Understanding Comics (on sequential art as a unique meaning-making system).

    2. Chute, H. (2016). Why Comics? (on comics as a fragmented storytelling tool).

    3. Groensteen, T. (2007). The System of Comics (on the spatial arrangement of meaning).
    4.  

  • Critical Debates and Counterarguments:

    1. Carrier, D. (2000). The Aesthetics of Comics (arguing that comics are a closed rather than open system).

    2. Eco, U. (1989). The Open Work (countering by suggesting comics can be ergodic).

    3. Murray, J. (1997). Hamlet on the Holodeck (on digital vs. graphic ergodic literature).
    4.  

  • Empirical Studies & Case Studies:

    1. Building Stories by Chris Ware (modular comic narrative that must be reassembled).

    2. The Sculptor by Scott McCloud (playing with time perception in panels).

    3. Graphic-novel adaptations of House of Leaves and If on a Winter’s Night a Traveler (experiments in ergodic comics).
    4.