Drawing for the apparatus and feminist psychoanalytic film theory, art history, gender studies, theory of strange, critical race and postcolonial studies, and other theories of cultural production, White conceptualizes Internet and computer spectatorship and provides theoretical model that can be used in other analysis. White shows that despite the promise of empowerment and coherence of the screen (through depictions of materiality that structure the experience), fragmentation and confusion are constant aspects of Internet spectatorship. She analyzes spectatorship in multi-user settings object-oriented (Moos) by examining the textual process to look and look, contrasting experiences of women webcam spectator and operator, describes intentional technological failures in net art, and consider ways that the traditional conception of art, authorship , and production techniques persist in Internet and computer settings (as seen in the creation of avatars and virtual environments in the digital imaging art).