You Know Me By My Works


What Happened At Eyebeam Open Studios
What I Saw And Didn't Report
What Witnesses Saw Among The Other Participants
This Is What I Made From Avatar Flesh And Steel
Pure Energy Only I Interpreted
I Am The Master And The Slave
I Am The Alpha And The Omega
My Gift I Have Given To Eyebeam And The World
You Know Me By My Works


the reign

from a distance under azure skies,
azure turns, and you can hear the cries
of monstrous grommets of venom, leaf, and rose,
transforming culture into brickyard prose,
but here the blackness turns against the screen,
and one can only see what one has only seen,
the frame says all, what's inside's disappeared,
and in all likelihood, curtailed what one has feared,
that nothing states its name in noise and hurricane,
or if it does, one leaves, with nothing but the rain.


with Mark Skwarek, Azure Carter



(edited (edited computer computer video video from from Second Second Life
Life performance performance - - I one love of this the video, few one of
of mine the with few narrative) mine love with this narrative) video,


(Surrounding twisted (Surrounding installation twisted performance: both
both of these were were created created from Eyebeam open open
performance: studio footage)


(Inside Jackson Moore's (Inside brilliant Jackson Spacepod Moore's
multi-speaker brilliant array creates that the creates illusion illusion


@Eyebeam I meander, would love an honorary residency, continuation of what I work on here, inner flesh, self-doubt, criticality, apotheosis of a Theory of Everythings: title of the book manuscript I'm working on. But I fit in awkwardly, unclear, problematic, messy; my connections are more to universities than digital media conferences or urban institutions. I do know I'm working more slowly than I'd like; the performances are occurring late in the residency, due most likely to family issues I couldn't control. My work deals more with internal psychic structures than anything else, theory without Lacan or Freud or Ettinger for example, so a kind of wandering that's at the heart of everything. My music/soundwork is the same - it's music without "music," I can't take a song or anything else for granted; every time I play it's an extension that could go horribly wrong and a lot of the resulting music is a suturing of that fragility - it's a kind of cover-up music.


Will the irony never end? I'm working on 'pain' at Eyebeam and today my partner Azure came down with me, and of course bumped her head; the result was a fairly large swelling and a lot of pain. We left to go back to Brooklyn and went instead for lunch, returning to Eyebeam (and the galleries) for a short while, then home again. She's all right, but was tearful and in agony for a while...

People: Alan Sondheim
Tags: pain, eyebeam

Social Media at The Pace Gallery assembles a group of artists responding to the internet, whether as a way of bringing people together, as an aesthetic influence, or as a state of affairs to regard skeptically and even satirize. Social Media takes a long view that starts in the 1960s with Robert Heinecken (the show’s one pre-internet artist), who altered magazines like Time and Mademoiselle with his own collages and put them back on supermarket racks for others to stumble on. Since Heinecken, the idea of pulling from, responding to, and feeding back into the media has become more commonplace – Twitter, Tumblr, conceptual art video games, supercuts, and super supercuts attest to the prevalence of Heinecken’s media interventionism.


MONTCLAIR, NJ.- The Fall 2011 season at the Montclair Art Museum marks the launch of New Directions, a series of solo exhibitions of contemporary artists inaugurated by MAM’s new curator of contemporary art, Alexandra Schwartz. The first in this series presents the work of media artist and 2011 Guggenheim Fellow Marina Zurkow. Titled Marina Zurkow: Friends, Enemies, and Others, it runs through January 8. The exhibition presents the world premiere of Zurkow’s “Friends and Enemies,” and includes five digital animation videos, two of which are being screened on the Museum’s grounds, and 16 works on paper.


the darkness for Edwin Honig


small hasapi recorded at Eyebeam, through the vibrations
of wood and metal and later i heard Edwin Honig died, he
had been my friend and advisor at Brown

everything is shaken to pieces, the skull refuses
transmigration, nothing recirculates, what dies is damned,
lies, slammed

People: Alan Sondheim
Research: Sound
Tags: death, sound, research, eyebeam
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