COMING ALIVE explores the blurring of what is traditionally considered as fine art and web art. COMING ALIVE is split into three different stages that range in complexity of the images. The first, the most basic, and the third, the most complex. COMING ALIVE was heavily influenced by the grid system in art making, as executed by many contemporary artists today. It explores the concept of value and shading and how it translates on the web, and also colour and its placement to create a more realistic, believable image. By using both still and animated gifs, COMING ALIVE essentially does exactly what the name states: transforming flat images that viewers traditionally interact with on screen into images that have more depth and a three-dimensional quality.

Lindsey Ahn

This is a space dedicated to showcasing and giving attention to neglected YouTube videos. By investing a bit of time into viewing whatever shows up on your screen, you’re given the chance to take a candid peek into a stranger’s life. Videos with a limited number of views will not be hosting paid ads; they were not made in hopes of making money at all. YouTube videos like the ones you will view are human hands reaching into a digital space hoping for nothing more than your company.

Matthew Chen

Cycles in Motion is an ongoing project that explores cyclical patterns that exist in both micro and macro systems. Common formations and patterns appear when objects, forms, or groups of entities move in repeated, often cyclical, arrangements. By utilizing animated gifs, a compressed file format that can appear on an infinite loop, the subject matter is matched by the cyclical nature of the medium itself. The series of gifs are intended to reveal relationships between various systems and imply how cycles are evident in many aspects of our day-to-day life.

Richelle Gribble

Faeriagraphy is an interactive site bent on user discovery. Like the findings of the user, Faeriagraphy’s very own princess, Typer ventures the ocean in order to make her own discoveries. The user has the ability to uncover custom lettering in order to fully appreciate the beauty of typography in its original state while in a completely foreign realm: the web. During this interaction, the user also has to consider and react to the juxtaposition of custom lettering in a digital space.

Hailey Nowak

Can I have a moment? explores the creative mind of unlikely individuals. Not all of us are artists or photographers, but we can all produce works of art. Can I have a moment? is an interactive project that introduces creativity into the lives of its participants. For four weeks, I reached out to the Internet world through outlets such as Facebook, Tumblr, Reddit, and Craigslist. Each week, I provided participants with simple instructions for an artistic activity and recorded their response on this webpage.

Tracy Yen

 

#LettersFromTwitter is a curation of Twitter updates written by faceless strangers on the Internet. Each page presents a narrative quilted from individuals regarding a wide variety of predetermined subjects. The juxtaposition of the 140-character confessions with each other re-contextualizes the whole concept of Twitter, bringing it a more tangible feel and distancing it from the digital realm. In doing so, #LFT hopes to explore certain themes: to underscore the fine line between the public domain and private space and its increasing imperceptibility as the audience is handed a piece of private and unsought information. It also ventures to examine the construction of the self—how social media creates a dichotomy between two identities: the authentic and the scripted self. And finally, #LFT aspires to help us step back from the individual elements and details, allowing us to examine a composite image of society as a whole, the collective voice of the masses. And with this new perspective, we may be able to perceive the common thread that runs through each of us, making us interconnected in ways that we have yet to recognize.

Patricia Capiral

Paper Doll is an interactive piece that allows the user to adorn a female-bodied “doll”. Unlike popular fashion games marketed to young girls, the user can choose between looks that fall on all ends of the gender spectrum. The experience resembles the calculated daily efforts to perform ourselves with apparel. Subtleties in gender perception and presentation are brought into light upon trying on different faces and clothing. The aesthetic relationship between a face and body with clashing gender norms may bring one to question how deeply embedded gender binary ideals are within oneself. Is it upsetting to break the rules or can one be pleased with the unconventional? The body is not projected as a sexual object but rather a blank canvas to present with dignity. Unlike Barbie, my paper doll has a body that represents real proportions, as not to perpetuate impossible standards of beauty. The feminine ideals being taught to girls at a very young age is the impetus of this project and their absence stands prominent. An individual cannot envision alternative identities if the option is not visible to society.

Ariel Fiederer

How do you get to know strangers you will never meet? With DECOMPRESSED.us, I wanted to create a visual expression of the social media projection of self. Like the participants in Brody Condon’s “Level5”, we use the performed social media self as a mask that fragments of the IRL self and lived experience filter through. I see the photos and updates that people post to social media sites as an attempt to compress an experienced moment into shareable content that is in turn decompressed by those who view it – a real life version of the compression Cory Arcangel describes in “On C”. But like Arcangel’s digital versions, social media compression is a lossy process and the product is decompressed differently by each viewer, a translation of their own experiences through the lens of their relationship with the original compressor.

Chloe Lauter

This piece is an interpretive auditory experience in exploring the human body as a symphonic masterpiece. Depicted bodily experiences are hyperreal- all of it is real, yet none of it is real. They are direct translations of physiological function into sound using only audio sourced from what I have managed to salvage on the web. Individual clips and recording I’ve collected from the ends of the virtual world are compiled a digital human presence. In essence, each experience is a remix, just as the entire production of the piece is, from the coding, research, and audio, all tailored and conformed into something entirely new. The overall effect is individually synthetic, yet wholly organic. Other realms of exploration- at what point does sound become music? In this, I argue that the human body too, is a work of art. How does content displacement affect its perception? This I explore by taking the function of a sound and placing it within different context.

Emily Tat

Diaroutes
Our city, Los Angeles, is a place based on automobile trips. These trips, recorded as part of our lives function as a diary of sorts. The purpose of this project is to play with these automobile routes in order to create an image made from "trip diaries" of life in Los Angeles. The places the participants of this project have gone are far away from home, right down the street from their apartments or some indirect routes that don't abide by logic. In a word, these are the places that we have gone. There will be many more destinations in the future as we explore the city we live in Diaroutes helps us drive through the city in an artistic way.

Jason Zhang