Context : From Wikipedia*
A "Hello World!" program is a computer program that outputs "Hello, World!" (or some variant thereof) on a display device. Because it is typically one of the simplest programs possible in most programming languages, it is by tradition often used to illustrate to beginners the most basic syntax of a programming language. It is also used to verify that a language or system is operating correctly.
A "Hello world!" program has become the traditional first program that many people learn. . . Using this simple program as a basis, computer science principles or elements of a specific programming language can be explained to novice programmers. Experienced programmers learning new languages can also gain a lot of information about a given language's syntax and structure from a "Hello, world!" program.
In addition, "Hello world!" can be a useful sanity test to make sure that a language's compiler, development environment, and run-time environment are correctly installed. Configuring a complete programming toolchain from scratch to the point where even trivial programs can be compiled and run can involve substantial amounts of work. For this reason, a simple program is used first when testing a new tool chain.
"Hello world!" is also used by computer hackers as a proof of concept that arbitrary code can be executed through an exploit where the system designers did not intend code to be executed…
hello, world! is an exhibition that explores how a queer identity can function as a clear projection of self while simultaneously resisting and reframing normative definitions of identity. The complex, humorous and deeply personal approaches each artist brings to the exhibition offers a visual syntax of queer experiences. The title hello, world! reminds us that language is learned, tested, reframed and hopefully -- hacked.
Genesis Baez , Emmy Bright, Eduardo Restrepo Castaño, Brian Christopher Glaser , Nicki Green, E.E. Ikeler, Sakura Kelley, Local Honey, Alee Peoples, A.K. Summers, Nabeela Vega
Geometrically, when we project a volume we map it onto a two-dimensional space. A collapse achieves the same thing, but it seems to be disorderly. A fold, in contrast, adds transient dimensions, and often, a palpable thickness. These operations have abstruse technical definitions that reflect their spatial complexity, but even the least mathematically minded person enacts them intuitively.
So far I have been a painter, and concerns of how the volumetric world is translated to and from the flat canvas permeate my work. Here, in a foray into the almost three-dimensional, I have taken a familiar and simple folded form to inspect its internal logic versus my understanding of it.
Without conscious awareness, we move a paper bag from its collapsed to expanded state. I believe that also, we easily grasp that a paper bag is folded from a single sheet of paper, even if it takes more study to learn to make one ourselves. My interest is to draw out these transformations and our experience of them. That I can open a lunch bag, or even invent one, doesn’t mean I have any awareness of the cognitive processes as work. More broadly, just because I can look at a drawing and know it is a mapping, doesn’t mean I can experience the mapping.These pieces may reveal elements of the experience, though, and give us a vantage point from which to watch.