Post your name, project title, statement/description, and links, files below.
Kate Jeon | The Endless Feed
Statement: When we scroll through our social media feeds—Facebook and Instagram in particular—it seems as if we never run out of content to look at. This idea of “endlessness” is displayed through the physical representation of my Facebook and Instagram feeds, printed with the actual dimensions of a phone screen. The thick paper feed, which rests on a paper iPhone, switches back and forth between these two platforms to reflect how I experience the digital world. Included are 211 Facebook posts and 152 Instagram posts for a total of 363 individual posts. I roughly look at 25 posts in one minute, and at this rate, it would take me just 15 minutes look through these 363 posts on my phone screen. However, it would take me almost double that time to get through the printed version. The digital versus print experiences of social media is starkly different and unique in their own ways.
Sarah Holland | Being Alone
It’s very easy in today’s world to give into the sense of being alone. At the surface, sometimes it’s all you can see. A quick glance at our faceless forms of communication, our divisive communities, and a tendency towards superficial relationships will yield nothing but loneliness. However, pay a little attention, and you’ll see that there’s more to it than just going solo. It encompasses a great deal of ideas, thoughts, concepts, and beliefs. We are all one light in a field of lights. This piece emulates the sensation of looking out onto the city, watching a hundred thousand lights flicker before you, each one with its own purpose and story. In the end, we are one, and at the very end, we all become nothing.
Helen Nie | Objects of Desire
Medium: 3D Digital Rendering
These days, it seems like anyone would buy almost anything if it had cool packaging.
This project explored the idea of packaging in the contemporary consumer world via the new 3D compositing tool, Adobe Dimension CC. Ultimately, I tried to experiment with how many ways you could dress up a simple white box to embody different consumer personas—early adopter, artisanal creator, beauty guru, high roller.
I set limits for myself—only using a simple square box, existing online assets (textures, colors, backgrounds, other mockups), and minimal frill. I was inspired by minimalist design and hence borrowed some motifs from other cultures, including the umlaut “Ä” and the “Cultural Interest” looped square symbol from Sweden and the word, “svelte,” which means “slender and elegant”, from Italy.
Daniel Moreno | Preserving What We Can’t & A Choreography of Loading Icons
My project ended up having two related components. The first was a study of Photoshopped images of famous exhibits in museums reflecting the failures of trying to preserve digital art. As more of our art moves from the analog to the digital we begin to lose some of the ability to preserve it. How can we run an art installation built in the 90s meant for outdated PCs running just as outdated versions of Windows on our smartphones today? How will we preserve today’s interactive experiences if our future decides to get rid of screens altogether?
The second dealt exclusively with reframing the loading icon, which is usually associated with our inability to get the content that we want. By filling a room full of synchronized loading animations with a variety of colors, I tried to understand the emotions evoked in the observer when the loading icon is void of any context and just spins and pauses forever.
Preserving What We Can’t
A Choreography of Loading Icons
Andrew Shen | The Material Web
The contemporary fringe is the material with which we craft the tools and environments of today. The platform for these tools and environments of today is the web. We understand the properties of wood, leather, and plastic. But what is the screen made of? What material is the web made of? We treat the web as a fixed canvas right now—we create Photoshop documents with set dimensions, and carefully place our static elements onto the dynamic domain of the screen. Not only are we deceiving ourselves, we’re not taking full advantage of the medium with which we’re working with. How can we utilize the screen as it truly is: a material that stretches across a series of devices? What does it mean to design with the web, for the platform of the contemporary? This project is an attempt at representing and visualizing the nature of screens—as a modular system of highly interactive components constantly in flux. That is the contemporary fringe. It is modular, it is edgeless, it is interactive, it is always-changing.
Mana Sazegara | con.tempor.ary
The contemporary era, the one we are living in at the moment, is getting more temporary every single day. This “temporariness” leads the contemporary to different levels of instability and vulnerability. It transforms it to something problematic to trust and sometimes difficult to grasp. Continuous changes mutate the contemporary into an incident which you have to know its distinct set of rules in order to interact with it. Each “iteration” is different from the one before and there are no two identical concepts.
Iterations do not develop, evolve, or complete each other necessarily. Each one tries to recreate their own principals and compete against each other at some levels. There are some moments in the contemporary where an iteration might begin doubting itself and try to go back in time to adjust.
The endless remaking and reinventing forces the iterations to act sensitive to time and become sensible, receptive, and responsible to it. Consequently, to be able to be responsive to the “tempor”, they need to turn into modular components and be authentic and genuine in their connections, actions, and behaviors.
Here is the link to the video: con.tempor.ary
and some stills:
Esther Jeon | To Be
The contemporary deals with temporariness, time, and speed. It seems like we’re always running around and always on our phones to check social media, even though nothing new has been posted. So, what does it mean to be still? To counteract the distracted busy life and reliance on social media to visually stimulate us, this project is a series of short videos meant to be viewed on your phone. They evoke contemplation and meditation with the blurred photos and slow motion. In the 1 – 1:30 minutes of each clip, the viewer is to be immersed into this blurred world of slow moving colors and calm down, to just be.
Ying Luo | Uncover
Materials: Paper and vellum
I see one of contemporary themes as self-expression and the freedom and liberation of uncovering oneself. I’m trying to brand this contemporary fringe through a series of book jacket for a proposed autobiography of the British-Japanese fashion designer Hana Tajima. She is a Muslim convert and is devoted to clothing for not just Muslim women but all women with independent spirits and modest aesthetics. She is a rising star in the fashion design industry and her hijab designs were on show in MoMA’s Items: Is Fashion Modern? Exhibition. In the book jacket design I’m trying to mimic her aesthetics without referring to her images explicitly. I’m trying to bringing out her voice, which, though gentle and neutral, is a clear statement of freedom to express oneself, especially as a woman. I took the book title “Uncover” from her quote “I tend to identify with women who want to uncover themselves to feel that sense of liberation. It’s not in how much or how little you are wearing, but in having choice and the freedom to enact it. So for me, it’s about that.”