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ures, which is said by the Public Art Fund to create a dream world that is at once “primordial and ethereal”. With this sequence, Mori brings the viewer from the live biofeedback stage into what she describes as 'a deeper consciousness in which the self and the universe become interconnected” (Public Art Fund).

 

Mori’s work, which was finished in 2003, was built under the “Global Present” style. In this type of art, technological advances express how the world is getting smaller and smaller. The late nineties and the beginning of this decade were the time of rapid technological advancement. The internet, television, and international migration caused people across the world to become somewhat neighbors (Preble, pg. 489). Mori created this piece for it to be a refuge for the hyperactive workers in the new global service sector (Preble, pg. 489). Globalization has changed the world and made foreign trade grow exponentially. As technologies grow, so does the art created around the world. New ways of expressing one’s ideas and how we interpret the contemporary world are beginning to be seen. This new type of space-aged art expresses worldly issues and the forever-growing global advancement we face today. Mori has been a well-known asset to this new type of art, and with her cyborgs, cyber feminism, and fashion background, she will continue to be a frontrunner in the global present style.

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