[6] According to the project statement the work "exposes its narrative formula, thus mirroring aspects of contemporary cultural production: sampling, appropriation, hybrids, stock content, design templates.
On one hand, it immediately indicates its use of re-purposed material, as Fučík’s original composition is intended to depict a military march drawing from the composer’s interest in the Roman Empire.
In contrast, Laurendeau’s pared down small band version is commonly associated with the entrance of circus clowns, a far cry from the grandeur originally intended by Fučík.
On the other, its use meta-textually gestures to the manner in which performers within a circus, while inhabiting certain fixed roles, use new guises to play a multiplicity of parts for their audience.
Storyland‘s display of the poignant as well as the absurd mirrors contemporary creation of narratives, the manner in which information is purposed and re-purposed to new ends."
Wylde’s digital work asks the reader to confront and question our use of language, the narratives we structure, and the manner in which these are purposed within the performances of our everyday lives.
"[9] Daniela Ghiragossian posits, "The work mocks socially accepted standards and behaviors, while simultaneously touching upon a variety of major themes.
Sometimes, the narrative, along with the circus themed presentation, evokes the uncanny because it depicts an environment that seems familiar, yet it conceals the way in which the events occur, leaving the reader to wonder in darkness about the content and the contradictions composed in this strange story.
The difference between Nanette Wylde’s Storyland and Breton and Soupault’s Magnetic Fields is that the former is produced according to a computational algorithm involving randomizers and user interaction, and the latter by two free-wheeling human subjects.