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The artists and works presented in the first series of Circuit are:
Joel Holmberg-A9 Weekend,
Daniel Iglesia-Ghost Jockey,
Maya Kalogera-Accessible Happiness,
Steven Lam-Second Song: Live at Red Square,
Jamie O'Shea-Alvin Sonic Incubator
Eyebeam announces the inauguration of Circuit, a new program providing emerging artists working with technology the opportunity to take over Eyebeam's exhibition space for three days and participate in critiques, roundtables and public presentations. An exhibition of this new and largely unseen work by Circuit artists will be on view in Eyebeam’s exhibition space on Friday and Saturday, September 9-10 from 12-6pm. The artists will give public presentations and/or performances on Sept. 10 at 4:00pm, followed by a reception at 5:30pm. These events are free and open to the public.
Circuit was developed by Eyebeam's Education Studio, in collaboration with media artist Yael Kanarek, in response to the need for emerging artists to have the opportunity to present work and receive feedback in a professional setting. Circuit showcases new and experimental projects, introducing new artists from across the nation to the New York City public and arts and technology community.
Artists Participating in Circuit #1:
In this new piece, Holmberg references the concepts behind his most recent work, Weekend,which was visually rooted in Jean-Luc Godard’s similarly titled film. Holmberg's Weekend re-contextualized Godard’s scene of a post-apocalyptic traffic jam by isolating and splicing together individual frames from the film to create one image which scrolls across the screen via slow pacing to match the original camerawork. Holmberg’s A9 Weekend uses street-level photographs found through Amazon’s A9.com map service to visualize Sunset Blvd, Los Angeles, from both sides of the street. The images are composited into one image for each side of the street, running at the same pace as Godard’s Weekend using a tweening process. The audio from Godard’s famous tracking shot is juxtaposed onto the A9 tracking shots, and the contrived videos of both sides of Sunset Blvd are screened on inward facing monitors which are spaced 10 feet apart, creating an illusion of space.
Ghost Jockey is a computer program that continually generates mashup audio and video. The program repeatedly swaps audio samples from a library, layers and aligns them by tempo and key, and makes decisions on volume levels. The visuals are created by running a Google image search on the name and artist of each sample, cycling through the results, and adjusting the brightness with the volume of each sample track; the result is multi-track layered images that pulse with the music.
Culled from the artist’s music collection, most samples are intended to be recognizable; many of the visual results are also identifiable or even iconic (album covers, portraits, etc). The chaos of the web, however, still yields unrelated and often amusing results. This flood of historical information raises an inquiry into contemporary popular music’s heavy reliance on nostalgia, as a distraction from tedious structures or aesthetics. The result is entrancing, yet the relative each with which a computer subsumes the role of DJ and VJ comments upon the lack of originality required to create a directionless or non-hierarchical collage.
Accessible Happiness (AH) is a prototype under development. It started as one artist's personal point of view on blogs, specifically video blogs. AH is an online/offline installation where users can participate in the current 'flow' of some pleasant emotional states (happiness). Although the initial moods/files are uploaded by an author, AH allows the user to add material via the site's A/V editors. Individual expressions are layered together, as holistic and direct means for continuously examining the possibilities of combining the imagery and the audio. AH decomposes, collapses, melts and dissolves files, accentuating and diminishing their impact. The piece creates often surprising narrative threads. AH doesn’t respond to any fixed boundaries, but could be described as an A/V book, one sequence in VJing, an eclectic mix of print and new media styles, an ever-changing digital painting and/or an immediate and fluid browser/less net piece.
The artist will demonstrate the numerous methods for processing and displaying the files via a local version of AH. She will illustrate for the audience the main principle of the piece when completed: all graphical (visuals, texts) uploaded files will be displayed in previously designed shapes (no grids, no rectangulars), with custom commands (dynamic dragging, resizing, transparency, context menu, etc.). When finished, AH will be located at
Second Song: Live at Red Square
Alighiero Boetti inserted an “e” between his first and last name dividing his subject into two autonomous identities: Alighiero and (e) Boetti. His Twins, 1968 (a photomontage of the artist alongside a life-size copy of himself) signified an ironic gesture of authorial nominalism, a doubling of signatures, a destabilization of authorship and style. One becomes two; a twinning leads to an imaginary collaboration. In a world that operates within a system of regulated information (demographics, boundaries, history, language, etc.), this nameplay provides an insightful commentary on authenticity in an age of endless reproduction.
Lam is interested in a hypothetical collision of the biographies of John Lennon and Vladimir Lenin, where the latter will narrate the life of the former, and vice versa. Using biographical data, archival footage, and their writings as readymade, the project simulates a dialectical exchange (October Revolution meets the Beatles and the Anti-war Movement). The project deals with the possibility of reinvigorating a leftist political imaginary and the promise of a collective utopia.
For Eyebeam Circuit, Lam will exhibit a prototype of the second installment to his Lenin/Lennon series, entitled Second Song: Live at Red Square. Mixing concert footage of Paul McCartney’s In Red Square 2005, with footage shot of the Red Square Building on East Houston, New York City, the video installation borrows from the mechanics of the body switch movies in the 70s and 80s.
Scrambling the phrase “Live/live at Red Square” and conflating a “concert for the free” with free-market real estate, the work traces the flow of information within a globalized mediascape, addressing the discourse of mourning, displacement and remakes.
In addition to being a homage to John Lennon and Vladimir Lenin, Second Song is inspired by the writings of Annette Michelson, Three Songs for Lenin, by Dziga Vertov, and the work of Jia Zhangke.
Alvin Sonic Incubator
The Alvin Sonic Incubator is a sound sculpture, composed of Plexiglas, speakers, audio electronics, wire, and metal filings. It is a crude neural network in which 8 sound sources build electrical connections to each other, creating a soundscape that evolves independent of human manipulation or computer control.
Viewers encounter the machine in its latent state, with no audible sound. Lights blink peacefully in sync with 8 subsonic pulses, lighting the room. The speaker cones rise and fall as if breathing. Metal filings grow into dynamic and changing magnetic forms once sound is added to the system. To start the process, a simple switch labeled: Procreate (learn) and Die (forget) can be flipped. A beginning tone is then added to the system. This tone will jostle metal filings, which grow to form electrical connections, producing audible sound elsewhere in the system. The sound will continue to grow until the environment within the sonic incubator is depleted of metal filings. Phasing patterns produce a music of overtones that change as a viewer moves throughout the room. At any time, the process can be aborted by flipping the switch back to Die (Forget).