#ptw17
#outofcontextptw

  Artists Statement

Jennida Chase

Statement

Aunt Johaha: A Taste of l’Avenir is an existential cooking blog and web presence test kitchen. The project is an exploration in flavor through the Tardis-like concept of ‘the kitchen’. And it works through contemporary ideas of self expression through the development of of a social media persona using a Dr. Who style framework of protagonistic-multiplicity.

The various Aunt Johahas of the the ages express their feelings and impart wisdom through an interconnected aggregate of culinary joy on Tumblr. Each iteration of Aunt Johaha, favors slightly different culinary approaches and express themselves in a slightly different light and a different relationship to food.

Cooking blogs seek to share in an enthusiasm for flavor. Art blogs seek to contribute to the cultural context of the art world. Instagram showcases parts of our lives and careers and so on… By engaging in story building along with conceptual and culinary aggregation on multiple timelines and through a couple of formats (like a culinary blog) allows for a rambunctious and irreverent social commentary.

Relationships to food and culture, and relationships among women are explored and displayed in a familial context. Sharing pictures of the youngest Aunt Johaha (a meat loving giggling baby known as The Lion Shark) through the lens of contemporary art draws unexpected conclusions through its juxtaposition of content through the social media platform of Instagram. Using the language of food blogs to develop personas to comment on gender doubles back on itself in an ironic idiom.



Chris Eben

Statement
"irizalas" illuminates the experience of simultaneity. Two streaming and selectable videos are combined live, to present multiple perspectives at the same time. Its name is Hungarian for iridescence; the ever-changing rainbow effect seen in both bubbles and the infinity of life itself.

Inherent in this unique visual technique is contrast and juxtaposition. As traditionally unrelated circumstances are unified, novel interpretations and realizations are inspired. The spectrum of resulting reactions is as diverse as the input opportunities, ranging from neutrality to excited revelation. One’s subconscious perceptional dynamics are profoundly activated in the reconciliation of recognition and relation.

The viewer is invited to become an interactive participant in the creational process, through a variety of intuitive controls and artistic effects. These powerfully engaging mechanisms are provided in a deliberately ambiguous manner, to both encourage exploration and reinforce the exhibit theme.

This technological adventure is made possible by recent advances in web browser capabilities. In particular, these include the enhancement and standardization of styling functionality (CSS). It teases with a tiny taste into the future possibilities of pairing artistic intention with the tools of technology.

Chris is a professional artist and software engineer, with a passion for developing innovative technology that inspires the human imagination. He graduated from the University of Illinois at Urbana-Champaign with a B.S.E. in Computer Science and was previously a software developer for Microsoft, Amazon, and Motorola.


Carrie Ida Edinger

Statement
New media and interdisciplinary practice are the foundations of my projects. I define interdisciplinary practice as development of projects by borrowing methods from other disciplines. The disciplines I have borrowed from are material culture, curatorial methods, and the social sciences. I draw from several new media sources such as video, web presentation and social media sites.

The Collection Project has themes that present the social interaction between people and objects. The conceptual importance of analyzing social interaction between people and objects is to present the functionality of the interaction instead of putting the main focus on the object alone. I borrow from material culture and anthropological methods to contribute to forming the collection. The majority of the collection is formed with video clips. The focus on this detailed engagement of objects contributes to establishing viewpoints for the framing of the subject matter for the video clips and obtaining a broader knowledge of everyday objects. This broader knowledge was obtained through material culture research and a shift of thinking with curatorial methods. My collection themes that are formed with video clips present the everyday activities and consider objects beyond a fix idea of how they tend to be exhibited in a customary practice of museum collections or high culture aesthetics. Conceptually this is one example of how the Collection Project demonstrates Out of Context by the content of the collection, which relates to everyday mundane objects.

Cyberspace places an Out of Context reference to the physical realm of objects and the physical space of a museum. The Internet is used as a presentation platform for the collection via a website http://www.carrieida.com/AboutCollection.html and has offered public accessibility to monthly additions. The malleable characteristics of the Internet redefine the concept of a traditional collection as well as redefining public accessibility. The Internet was utilized to alter my collection status each month during the collecting process. The web page was organized with rows for recent additions and each collection theme in its entirety. This visual communication was for new and recurring visitors to the site to have access with the different stages to the collection. Referencing museum terms has aided in defining my personal collection, but these digital technologies extend the idea and the challenge of how to “restage” my ephemeral collection within different physical environments.


Josh Fishburn

Statement
I started Your Daily Rainbow out of curiosity about Facebook’s “Celebrate Pride” image filtering algorithm after the Obergefell v. Hodges Supreme Court decision recognizing the constitutionality of same-sex marriage in the United States on June 26, 2015. Facebook had previously created event-specific filters for profile pictures (e.g. the French flag to memorialize the murders at the satirical magazine Charlie Hebdo earlier that year), leading to arguments about “slacktivism” and privilege (where was the Turkish flag filter for those wishing to express solidarity for the bombings in Ankara later that year?). Also problematic is Facebook’s ownership and control over the filter; [facebook.com/celebratepride] now redirects visitors to its generic, decidedly apolitical Change Your Profile Picture page, where you can “Show your support for a cause, cheer on your favorite sports team or celebrate a moment in life”.

One of the most interesting aspects of the “Celebrate Pride” filter is that, to preserve transparency, it didn’t use the original colors of the pride flag. To get these modified colors, I set a transparent png file as my profile picture and ran it through the filter. Then I used [Processing] to create a daily drawing—from pixelated patterns to radial animations to image filters—with only these six colors. Each drawing was then put through the “celebrate pride” filter and set as my Facebook profile picture for one day. For version 2, one of my goals is to simply reproduce the now-absent filter using [p5.js] and a live webcam capture as a sort of Snapchat-filter-lite. To continue the concept of the piece as a daily drawing, it will be updated daily throughout the exhibition with a new filter pattern involving the same six colors.

Josh Fishburn is a new media artist, game designer, and teacher whose research focuses on videogames as creative expression. His work often takes the form of small-form, vignette-like art games, and his research interests span videogame history, novel game controllers and interfaces, creative coding, and the pedagogy of programming as a creative practice for beginners. Software toolmaking and tinkering are key research methods. Aesthetically, his work explores complicated relationships using deceptively simple shapes.




Belinda Haikes

Statement
I explore the transformative poetic space of human experience as it intersects technology. My visual language engages the world around us; the landscape and its people, the history and the potential become connected through technology. Manhatten transforms the first moment of pure destruction, the recording of the first atomic bomb tested at White Sands NM into a meditation on the terrible and sublime history.

Belinda Haikes is a conceptually driven interdisciplinary artist, designer, and writer whose work examines digital and social relationships. Recent exhibitions and screenings include the Ackland Museum, (Chapel-Hill, NC), the Philadelphia Fringe Festival, LightWorks, UK, The CICA Museum, Seoul South Korea, and The NMC 10 traveling exhibition.


Eric Juth

Statement
rereCAPTCHA (2016) uses Processing to randomly generate collages, the source elements of which are 2000 Google reCAPTCHA images that I manually downloaded from accounts.google.com/SignUp between May and July of 2016. During this period, Google’s reCAPTCHA system utilized poorly compressed and tightly cropped digital photographs of addresses from buildings, homes, sidewalks, and other structures extracted from Google Street View.

Briefly, the reCAPTCHA system was developed by computer security researchers to prevent bots from exploiting services provided by websites and social media platforms. In order to prove that one “was not a robot,” the system required the user to identify and type in a series of between three and five numbers before the user could proceed.

The reCAPTCHA source images used as collage elements in rereCPATCHA are themselves “out of context,” they addresses without homes. Aside from the string of numbers, these images tend to be formally abstract, though occasionally recognizable things from the world of humans and nature infiltrate their narrow frame: flower pots, tree branches, sections of vehicles, flags, holiday decorations, and other things that robots would have little use for. As such they are imbued with a sense of “placelessness” that is at once also weirdly familiar.

These migrant digital images depict locations that have already been twice mediated, first as Google Street View photos, then, as images that have been further digitally processed and set up as automated, surrogate gatekeepers. In both instances, they are images that have been instrumentalized, functioning less as pictures and more as tools. By aestheticizing the reCAPTCHA images and presenting them in a new context, rereCAPTCHA preserves these peculiar media archeological fragments and builds from them virtual monuments to the fluidity of place.


Tyler Kline

Statement
I have developed an interest in Twitters affect on linguistics over the last decade. Germinating in the fecund ground of wordplay that the ubiquity of texting culture tilled, Twitter, with the platforms limits and template format, has helped, along with other social media sites, to create a post-Internet mono-culture. However, within this orthodoxy a heterodoxy of subversion and resistance exists. I am interested in twitters format breaking down linquistic syntax, and through: acronyms, eccolalia, and error a new semantics seems to be emerging where feeling displaces logic and prescriptivism.

My project involves the retweeking of the twitter bots: iMetaleptic‏ @ botaleptic, exq=.s.te =n.c&de/s‏ @crashtxt, and ˇÿˇ€‏ @FFD8FFDB interspersed with my own media and messages influenced and echoing these bots. This is an ongoing project, a search for the poetic in generative art, and connections between tightly scripted algorithms that where never originally intended or foreseen. By taking the work of these bots away from there original context of a consistent twitter page, and creating my own disjunctive context from their output, I create a meta-narrative fit for our absurd and myopic times.


Dermot MacCormack

Statement
I’ve been studying Zen Buddhism for a number of years and have always had a love for and fascination with, enzos. These are typically, hand-painted scrolls, painted very quickly, after much preparation of paper, ink, and most importantly cultivating a focused state of mind. The resulting painted circular brush stroke is typically done in one fast, uninterrupted flowing movement. There is no intent per se, other than the one who is painting, becomes at one with the moment of the actual painting of the circle. It is also typically, executed in silence.

This digital enzo, however, breaks the formalities usually associated with the traditional hand painted method, by replacing the painter with code, silence with recorded chanting (in this case an excerpt from chanting recorded in a monastery in Japan in the 1960s) and moving the object from a monastic, physical location, to that of the digital realm. The parameters are set by the code (in this case Processing) and once triggered by the accompanying audio, they work in tandem to create an generative, reactive enzo, that never repeats itself. By displacing the act of painting by hand, into the virtual realm of code and audio, this out of context environment recreates itself, endlessly, effortlessly, and yet it curiously retains a painterly quality, due in part, to the configuration of the code, which pushes the reactive coordinates in ever increasing ways, so much so that the application “struggles” in part to keep in pace with code instructions.


TangenT ArT CollaboraTive

Statement
diASp0RA is a multi-media meditation on global population displacement. Originating with singular stories of refugees, diASp0RA explores the ideological + environmental causalities of world scale disruptions through transcendent metaphor.

Origami boats and houses are the iconography that binds the dichotomy of the diaspora and the homeland, explored in two parallel interactive web experiences. These ephemeral containers invert to become each other (or dysfunctional versions of their original selves) as users enter the various climatic, economic, ideological “chapters” of the exploration. Scripted interactivity changes the meaning of each “chapter” as layers of information are manipulated. Desktop and tablet versions of the experience are available.

As befits this subject, the imagery + sound can be, from time to time, extraordinarily disturbing.

The relevance of this work to the curatorial framework is fairly explicit: refugees are people out of context, even more so in the current political climate.


Andrew Zahn

Statement
Using video from LAPSE 2016, this new iteration will use the web as a placeholder for raw nature — showing nature out of context from its default state. Taken over the course of summers 2016-17, “Lapse / Ambient Summer” is a portrait of the time and movement of nature. With a custom modified camera, high resolution still images and video were taken over the course of hours. These images were compiled into time lapse videos. Furthermore, the videos were adapted and “re-mixed” to form an interactive montage of ambient imagery and sound.


All work provided by artists. © 2017 retained by individual artists. Work used with permission for Out of Context online Exhibition.
Website developed by Belinda Haikes. Out of Context is part of Philadelphia Tech Week 2017.