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Idmaa BB Catalog Optimized.Pdf Dena Elisabeth Eber / Bowling Green University iDEAs 07: Beyond Boundaries, which coincides with the International Digi- Randall E. Hoyt / University of Connecticut tal Media and Arts Association conference, addresses the notion that the Rejane Spitz / Rio de Janeiro Catholic University, Brazil nature of digital arts is to embrace the new technologies of the time while Kenneth A. Huff / Savannah College of Art and Design perfecting those of the past. As such, it tends to sit outside the margin of discipline, thus deifying boundaries within its own set of standards. This art form is complex and multifaceted, however, it embraces two distinct aspects that are currently, and will continue to be, characterized by flux and defined by the rate of change of technology. The first exists on the fringe of the art world, embracing, exploring, incorporating, and translating the new- est digital media for the given time. The second is the molding of yesterday’s digital “edge” into traditional art forms or into mature and unique works that often do not fit within traditional aesthetics. Regardless of whether the art includes older or newer technologies, digital media art sits outside of tradition. It is a lightning rod for new media and acts as a disseminator of language and implications connected with it. Although traditional boundaries do not apply, grounding in artistic practice does, albeit in flux. The iDEAs 07 exhibition not only displays art that goes beyond bound- aries, but shows work that does not even consider them as the art reflects a discipline that seeks to find its own foundation. The works in the exhibition address this directly and indirectly as they are cre- ated with old and new technology as well as traditional media mixed with technology Dena Elisabeth Eber / iDEAs Curator 2 / 3 iDEAs 2007 / BEYOND BOUNDARIES / INTERNATIONAL DIGITAL MEDIA ARTS ASSOCIATION Don Barth / Memory Jar / Internet art / 2007 “Memory Jar” is about childhood memories. The engager with the piece will navigate the virtual “jar” presented within a web browser to discover texts, images, sounds and videos. The engager can then respond to an existing item and/or add their own. Items are first uploaded to online repositories (such as youtube or photobucket). The piece will become an amalgam of past childhoods made into one, reflecting our times and cultures. *A memory jar is a craft project where one attached objects to a jar (i.e. photographs) that relate to memories the creator has of the person to whom the jar is being given as a gift. 4 / 5 iDEAs 2007 / BEYOND BOUNDARIES / INTERNATIONAL DIGITAL MEDIA ARTS ASSOCIATION Dave Beck / Day of Decision / Animation / 2006 Inspired by a speech written by Allen Peltier in 1960’s, it is a mixture of equal parts American kitsch and old-fashioned patriotism. This animation aims to stir a reaction, which is both humorous and guilty within the viewer. 6 / 7 iDEAs 2007 / BEYOND BOUNDARIES / INTERNATIONAL DIGITAL MEDIA ARTS ASSOCIATION Kim Beckmann / Evidence Version a1 & Evidence Version a3 / Digital Image / 2006 “Evidence / Versation (Verse + Conversation)” examines place through a collection of photographs and writings that document accretion, erosion, artifacts, detritus, story telling, and everyday conversation. The documentation is presented as evidence archived within a journal/field guide where stories about place are expressed as make shift things and composed with world’s debris. In this context, place, real and virtual environments, is best understood as what space and objects afford for the interaction of human relationships—[body] as metaphrast, mediator of environments, flows of people; [city] and [image] as signifiers that rest on paths, edges, landscapes, nodes, districts and shape and redefine how we know and experience [place]. 8 / 9 iDEAs 2007 / BEYOND BOUNDARIES / INTERNATIONAL DIGITAL MEDIA ARTS ASSOCIATION Christopher Cassidy / The Isthmus of Kansas / Video Projection / 2007 This is a single channel video that brings together recorded footage from the Atlantic and Pacific coasts to imagine a time in the far future when rising sea levels have reduced the continental United States to a narrow strip of beach. 10 / 11 iDEAs 2007 / BEYOND BOUNDARIES / INTERNATIONAL DIGITAL MEDIA ARTS ASSOCIATION Seth Ellis / The Story Engine / Desktop interactive work / 2007 The Story Engine is an online tool through which collaborative groups can create a hypertext project in the form of a single self-organizing text block composed of different strands contributed by different authors. Unlike the wiki model, editorial additions do not replace existing text, but exist alongside it, so that the total text is immediately navigable along multiple lines. With enough authors contributing, a single narrative may contain nearly infinite potential versions of itself. The result is a Borgesian labyrinth of language, a singular dense conglomeration of language that contains within itself multiple individual narratives and subjectivities. 12 / 13 iDEAs 2007 / BEYOND BOUNDARIES / INTERNATIONAL DIGITAL MEDIA ARTS ASSOCIATION Brian Evans / pipilo / salia / Video / 2007 I make maps. The maps loop in time and in the moment. There is synchrony in the sensory horizontal and the temporal vertical. Image and audio derive from the same numeric source. Each maps the other in the moment and through time. It’s visual music in a synaesthetic counterpoint. Musical narrative developed over centuries, moving the listener through time with the Pythagorean struggle of harmonic conflict, dissonance seeking consonance. My little loops engage that struggle at various levels. Color shifts. Composition flows. Image and sound agree, complement, disagree and resolve. Perhaps it’s abstract expressionism, true to its digital materials, founded in musical traditions and Modernist formalism. But it’s loosened a bit. It’s meant to be fun. It’s jazz in color, shape, sound and computation. Relax. Hear the colors. Listen with your eyes. 14 / 15 iDEAs 2007 / BEYOND BOUNDARIES / INTERNATIONAL DIGITAL MEDIA ARTS ASSOCIATION Carol Faber / Surface 3 - 09/14/2007 - 9:53pm (YES) / Surface 1 / Digital Image / 2007 Nature has an essence: a unique quality that visually captivates the imagination. The way that light plays off the iridescent quality of a bird’s feather or the color of water with a transparent hue that deepens into a dark green pool are some of the visually captivating elements that play a major role in my digital work. Natural objects tend to have their own essence or characteristics that enhance the digital process of image making. This essence of nature becomes a vital quality for inventing unique color combinations or effects in the digital realm. Just as a photographer waits for the prefect light in the early morning hours, I create digital images from a collection of natural objects that hold interesting surfaces, textures, or color qualities. I combine these natural objects with traditional studio art techniques to make distinctive images from nature enhanced through digital processes 16 / 17 iDEAs 2007 / BEYOND BOUNDARIES / INTERNATIONAL DIGITAL MEDIA ARTS ASSOCIATION James Faure Walker / yellow eight / Digital Painting / 2007 I make at least one watercolour a day, I draw, I improvise in paint programs. Sometimes these informal exercises feed into the large-scale paintings I make, and sometimes it is the other way round. I make some pieces as components, or so they can be cut up and reassembled. The more I work with both physical and digital paint, the less the distinction matters. In this case I cut up one of the ‘component’ watercolours in the form of a figure eight, and taped it to a canvas to test out a possible floating accent. This photographed detail (consisting of Plaka on paper and oil paint on canvas) proved more interesting when put back into the paint program. Taking the figure eight as the visual theme, I improvised eight variations. 18 / 19 iDEAs 2007 / BEYOND BOUNDARIES / INTERNATIONAL DIGITAL MEDIA ARTS ASSOCIATION Shellie Fiocca / Do Not Become / Video (Wall Hung Television/DVD player combo) / 2006 The premise of these video pieces was to create distorted third-party story telling. I’ve done so with physical reconstruction of video and methodical overlaid drawings. I digitally recorded several people speaking in stream of consciousness in response to a statement I had given them prior. The statements were a compilation of all the rules I had written notes to myself about over the years in diaries and journals. Afterwards I edited the video to create stories that meshed with my memory of how I felt when I wrote the statements. The act of doing so became tedious - yet brought relief. With more alteration and adjustment they became my own stories of struggle and strength. Through these videos I’m expressing my fears of becoming desperate for love, becoming addicted to drugs, and finding comfort in material possessions. I’m also expressing ever-present need for limitation and judgment. 20 / 21 iDEAs 2007 / BEYOND BOUNDARIES / INTERNATIONAL DIGITAL MEDIA ARTS ASSOCIATION Anthony Fontana / Machinima Paradiso / Machinima Video / 2007 A machinima or “machine-made cinema,” is essentially any animation that uses a real-time 3D engine, such as a virtual world (Second Life) or video game, to render computer generated imagery. Machinima Paradiso is a narrative that questions our relationship with art in a virtual space, the representation of ourselves as works of art, and the possibilities for virtual artworks that lie ahead. 22 / 23 iDEAs 2007 / BEYOND BOUNDARIES / INTERNATIONAL DIGITAL MEDIA ARTS ASSOCIATION Lacie Garnes / In The Bed We’ve Slept In / Video Installation / 2005 “In The Bed We’ve Slept In” is an examination of the symbolic and physical territory of the bed. Working with manipulated digital video and sound, the topography of this space is exhibited and transformed. The folds of the sheets mutate into scientific or sexualized studies of the flesh and body. The oscillation between recognizable imagery and the viewers’ own projected ideology and history creates a complex tension.
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