In certain special cases, such as pop-culture and art-historical references, the images become a diaphanous version of a recognizable image, creating a piece that one can barely believe is generated by a computer program. For example, when the text "Birth of Venus" is searched using Gould's program the image that is generated looks remarkably like the well-known and documented Boticelli painting. What makes the generated image unique is the manner in which it appears to be blurred, as if a camera in motion had photographed the painting. Given this painting is so widely known and documented, Google will undoubtedly find many examples of the painting reproduced on the net. Other words that generate blurred versions of identifiable tropes are images generated from a search of a current pop-culture term. When the terms "linux + penguin" are googled, the image becomes a blurred version of the linux mascot, a cute, seated penguin. The terms "Starbucks + logo" and "Coca-cola + can" also generate fairly legible images that are only slightly deviant from their standard forms. When asked about her feelings on the results of her first "googled" images, Gould reveals,

"I was absolutely stunned. I had tried several other ways to translate the Google Image search results, which I was initially viewing as a full-screen slideshow. The slideshow in itself was so revealing and expressive, and I tried several ways of combining the images that did not work very well. The first successfully merged images shocked me, and I was instantly in love with them and the process."

The piece becomes more complex when a word with no obvious visual representation is searched, such as the word "Spider". When filtered through the Google program, the word spider generates an image that becomes almost indescribable. As if 100 people were asked to draw what they think a spider looks like and the results were flattened together in PhotoShop.

"They definitely have an air of abstract painting (some more then others). I love taking tangible (found) images, most of which never leave the realm of the screen environment, and allowing them to lose their individual legibility for an abstract unity."

Gould's images reflect a democratization of value of information, a flattening of hierarchy of information. I feel that this post-modern idea of flattening of hierarchy is reflected in Gould's piece with a literal flattening of "Google search engine" search-results into one contained image. The politics surrounding the prioritization of information have been obscured and what is left is a visual representation of the way in which a computer program translates data, in the form of text, digitally into visual information, not unlike the way a digital camera translates visual information into data. The project, which remains online, will automatically update itself regularly, shifting the images to reflect the changing landscape of the net. As more images are uploaded, manipulated, exchanged or lost within dead links and URL's, the images generated by Gould's Google project will shift over time.

Once Gould takes prints of her generated images, they become photographs of a digital landscape and are placed within a different art-historical context. The printed images are frozen in time, reflecting the landscape of the net the moment the search was completed. They become more photographic and documentarian in nature. Gould reflects on the interplay between photography and net-art within her piece.

"The cataloguing of the images is also wrapped up in the tension between photography/net art, to some degree, and remains somewhat unresolved, this is an aspect that I need to address as I look to make the piece reflect its net origins more than it does currently."

To a certain degree, the tension between photography and net-art becomes heightened when one takes into account Gould's differing forms of exhibition. In the fall of 2004, Gould had the opportunity to display her work in installation form, lining the gallery wall with framed prints and with a computer terminal set up in the centre of the room with which the viewers could interact. The installation allowed the viewers to approach her prints photographically and her search engine program within a new media/net-art context. The gallery viewers could type in any word or phrase and would view a full screen slide show of their Google results and the merging process happening simultaneously. Gould agrees that this experience really allowed the viewer to contextualize her process and its final delivery.

To some degree the tension between photography and net-art adds interest to the piece when considered in installation form, allowing the viewer to experience the transition from modern to post-modern through the process of democratization of information.

Of note, these pieces will be shown in static framed photographs in several upcoming shows including Siggraph 2005 Art Gallery in Los Angels this summer.