Invent an artist:^[i]Claude E. Shannon 

Claude Shannon began his career as a scientist in Bell Labs in the 1940's in the United States during World War II. He wrote a paper with Warren Weaver called The Mathematical Theory of Communication. In it, he drew a graphic symbol to represent communication. It looks like this:

Figure 1: Shannon/Weaver visualization of communication theory^[ii]

After some thought, he decided to use his communication theory to time travel to a parallel universe. In effect, he turned it into a theory of transportation. He figured that if he actually got inside of one of his message boxes, he might be able to use it to send himself into the 21st century. His theory of time travel looked like this:

Figure 2: Schematic Diagram of a General Transportation System

(Time Travel Machine with Claude Shannon in it)

He asked Warren Weaver if he wanted to come along, but Weaver was busy writing a science fiction story, so Shannon decided to go at it on his own, and write a General Theory of Transportation to teleport himself into the future. Many of the visualizations of his past theories looked strikingly similar to his General Theory of Communication, so he thought this would work out. 

However, what actually happened looked like this:

Figure 3: Specific diagram of a General Theory of Transportation

The process of communicating himself into a parallel universe in the future turned out to be a little different than he thought, and although he successfully time traveled to after his projected death (Feb 16, 2001) process itself rearranged a few things about him. He found that, in the process of becoming an abstraction through time, and leaving his physical body behind, that he was becoming embodied in the 21st century in a number of different ways.

Claude E. Shannon split into two parallel universes. In one was ~shannon, a telepathic bitch with brown fur and a vibrating blue dick. She wore the tattered remains of a brown suit coat. In the other universe, was SHANNON. Here, he looked similar to how he looked in the 21^st century, except he had breasts and a blue flower. His suit coat was dapper but his shirt pocket was stained from exploding pens.

In one universe,~shannon grew breasts, menstruated, and her baritone turned into an alto. She kept her dick, but it became detached, turned blue, and vibrated. She grew fur, four legs, a tail and gained telepathic powers. This experience radically changed her formulation around scientific experiments on animals. She had a circumlocutious discretion people could only ascribe to a cat, but the lack of human social boundaries of an untrained dog, a bitch. People often thought she was a male. Although she kept her predecessors fondness for juggling, she didnt juggle balls, she juggled different parts of her life and personality. Being a telepathic bitch, she found, was considerably different than being a male scientist at M.I.T., although post 9/11/2001 United States, and 1940's United States had some striking similarities. 

In another universe, Claude E. Shannon emerged not as an information theorist, but as a Fourth Wave Feminist and filmmaker named SHANNON. He fast-forwarded through the 20^th century so quickly that in some instances he thought he was all the American filmmakers from the 20^th century, including George Lucas, Andy Warhol, and Julian Schnabel. This later resulted in a love/hate relationship with Hollywood. He went through the particle decelerator that interfered with his theory, passed through the film set for The Time Machine (the movie) in Troy, New York,^[iii] and ended up at the Folsom library at Rensselaer Polytechnic Institute. He was surprised in this instance that he had breasts. And he still had his brown tweed coat.

Describe the artwork of the artist(s): 

After he saw the impact and implication of communication theory on the United States psyche through the 20th century, he saw the movies of television, Hollywood, and reality TV all converge. He recorded everything he saw. He took hundreds of miniature polaroids. He couldnt afford 35 or 70mm film for his feature, but in turning to video, saw its immediacy and promise. His video "films" held a mirror to Hollywood production, its metaphor replaced by something smaller and more singular. Interspersed were fragments of "reality" the bits and pieces of 9/11 he saw in his time traveling passing.

Then she found herself in a musical about her own life, using the pieces from her video mind that she couldnt imagine in a film feature. Again, she found herself represented in many ways...male, female, both. She decided to do her musical in a library, because she felt at some level there is a strength and integrity in the act of archiving but an obsessiveness, almost...archivists are histories unsung hero/ines she thinks. She does away with the / in doing away with the binary, the binary has no use for her but permeable boundaries do...despite their oxymoronic repose

Describe the artist's beret:

multifarious, feminine, masculine, furred.^[iv] one's and zero's hold sway in an undulating line. both analog and digital. shifting like Bob Arctors scrambler suit.^[v] Sounds are emitted from it that sound suspiciously like an ARP or Moog, but at other times a ferocious dog bark. All bark no whine. No wine, well hardly ever.