DCP 0095 is a digital photograph taken with a modified low-resolution digital camera with the lens cap on. It is part of a series of digital images exploring the latent potential for image making locked within the "fixed" medium of the digital camera's electronic hardware. Using a single wire to short circuit the electronics of the camera, the hand of the artist is re-introduced as noise, intervening in the normal operations of otherwise invisible algorithms responsible for converting light information into indexical pixel information. The DCP Series is a collection of Images produced by intentionally corrupting the circuitry of various Kodak DC series low-resolution digital cameras. By rewiring the electronics of a digital camera, glitched images are produced in a manner that parallels chemically processing unexposed film or photographic paper to produce photographic images without exposure to light. The DCP Series of digital images are direct visualizations of data generated by a digital camera as it takes a picture. Electronic processes associated with the normal operations of the camera are revealed through an act of intervention. The camera is turned insideout through complexes of short-circuits chosen by the artist, transforming the camera from a picture taking device to a data capturing device that renders raw data (electronic signals) as images. In essence, these images are snapshots of stray electronic signals racing through the camera's circuits. Manually rerouted and written directly to the onboard memory device, these signals are the products of an electronic unconscious. Rather than seeing images of the world through a lens, we catch a glimpse of what the camera sees when it is forced to peer inside its own mind.
Phillip David Stearns - DCP 0095
Phillip Stearns creates at the intersection of art, philosophy, and science, drawing upon a variety of disciplines including installation, audio-video, circuit sculpture, writing, performance art and musical composition. Deconstruction, dissection, and reconfiguration are methods he commonly employs in the interrogation of materials ranging from electronic objects, biological systems, images, light, video, and sound. His process is that of reduction aimed at revealing hidden macrocosms of potential, new materials for expression, and new paths for inquiries into understanding the state of things.
In his work with technology, the machine is understood as the living manifestation of human intentions where the development and application of our technologies, machines and tools reveals our desires and dreams—both conscious and unconscious. His work generates phenomenological experiences that become pathways for interconnecting metaphorical spaces implied in the selection of specific materials, processes and media.
Phillip Stearns received his MFA in music composition and integrated media from the California Institute of Arts in 2007 and his BS in music technology from the University of Colorado at Denver in 2005. His work has been exhib- ited internationally at electronics arts festivals, museums, and galleries including: Harvestworks (2010 NYC); Gli. tc/H (2010 Chicago, IL); Festival De Arte Digital (2010 Belo Horizonte, Brazil); FILE (2009 Sao Paulo, Brazil); NIME (2009 Pittsburgh, PA); Filmer La Musique (2009 Paris, France); FONLAD (2009 Coimbra, Portugal); Torrance Art Museum (2008, 2007 Los Angeles, CA); Optica Film Festival (2011, 2008 Spain). He has participated in residencies at Museums Quartier (Vienna 2010), STEIM (Amsterdam 2007), Experimental Television Center (NY 2009), Har- vestworks (NY 2010), is the current AIRTime Fellow at Free103Point9 for the 2010-2011 cycle, and curator for the 8th annual Bent Festival (2011).
Rush Arts Gallery + Resource Center
December 1-10 · Manhattan
Bill Hodges Gallery
December 2 -11 · Manhattan
Art at Bay
December 3 -18 · Staten Island
Longwood Art Gallery @ Hostos
December 7-February 1 · Bronx
Like the Spice
December 8 -18 · Brooklyn
December 10-31 · Queens