In the evolution of image culture from Marshall McLuhan’s claims of medium supplanting message to the mid-’90s paperless studios’ fetishization of computer rendering, the rise of suckerPUNCH has added a new visceral dimension. . . Projects published on suckerPUNCH . . . are elevated beyond the ordinary and contribute to a new kind of nuanced visual discourse uniquely enabled by the Web. The underlying visual logic of this discussion is the “field,” a now default technique for describing environment and indexing parametric process. Sensorial, geometric, and spatial, the field conveniently conflates the three into a rich digital milieu. . . .