REGISTER for Eyebeam workshops. Web Hacking, Virtual Sculpture, RGBDToolkit, and more!
APPLY NOW for Eyebeam Residencies and Fellowships. Open Call deadline is June 14.
The artists and works presented in the second series of Circuit are:
Geoffrey Bell-Musical Chair:A game for One, Andrew Boch-Graff-Fi, Ernesto Klar-Convergence Parallele, Ilias Koen-Albatross, Marta Lwinpolymorphic [d(eoxyribo)n(ucleic) a(cid)]: a love story, Syuzi Pakhchyan-SparkLab, Tara Rodgers-Place I've Traveled To,1973-2005
Eyebeam presents the second installment 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 seven artists will be on view in Eyebeam’s exhibition space on Friday and Saturday, May 19-20 from 12-6pm. The artists will give public presentations and/or performances on May 20 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 #2:
Musical Chair: A Game for One , is an installation that is influenced by the artist's fascination with visual apparatuses from the 19th century. Toys such as the phenakistiscope and zoetrope required the viewer to sit motionless while spinning a disc to form a coherent moving image. As the viewer/participant in Musical Chair: A Game For One moves within the installation, their reflection fractures until they ultimately find that they are playing a solitary game of Musical Chairs with six reproductions of their own image. When the viewer remains still, the repetitive images of the viewer gradually coalesce into a single image. Audio segments are also triggered and manipulated by the viewer’s movements to further enhance the experience. Like Joseph Kosuth’s that codify and extrapolate three different representations of the same subject, this piece forces the viewer to become both the viewer of the apparatus and the apparatus itself. Musical Chair: A Game For One is impossible to win and even more absurd to play. The inclination for the viewer to decode their self-generating system is hard to resist and multiple players only convolute the viewer’s own participation. The game essentially turns into a solipsistic game of playing with oneself.
Geoffrey Bell is a new media artist who combines emerging technologies with traditional media. His projects include multimedia theatrical productions, video installation and animation. His works are exhibited nationally and internationally, and have received numerous awards and fellowships, including the RTKL fellowship and funds from The Andy Warhol Foundation. His recent interests delve into the cognitive and perceptual effects of invented immersive technologies. He currently works in Baltimore.
Graff-Fi (Wireless Graffiti v) is a software interface that enables users to "tag" web pages accessed over open wireless networks. An extension of the wireless hacking software airpwn, Graff-Fi bridges the worlds of hacking and graffiti, providing a new "virtual" surface for graffiti and other forms of creative disruption/harmless meddling. Presented as an installation, Graff-Fi allows users to both try out the interface and view its effects on provided terminals or their own laptops. Bootable CD's are also available to allow participants to bring Graff-Fi out of the gallery and into their neighborhood. Gallery visitors are encouraged to bring their own wirelessly enabled laptops to act as additional clients.
Andrew Boch is an artist, designer and maker. His work focuses on interactivity and expanding the creative experience of his audience. A founding member of the art collective Reasonable People's League, Andrew's past works include the performance event Paint Show, Goop Dream (a video installation) and the iGPS sound installation. Andrew currently splits his time between Boston, Providence and New York and finds himself wishing the "north side" of BosWash had better public transit.
Convergenze parallele is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in real-time by a custom software system. The installation reacts to both natural and artificial air movements in the exhibition space, prompting the viewer to interact by blowing air towards the light and to observe the amplified sound-image relationships. Convergenze parallele explores the poetic potential of revealing and transforming the imperceptible, in the attempt to "see the invisible, or if you like, take a sounding on the incommensurable.”
Ernesto Klar is a media and sound artist based in New York City. Klar's works have been presented at the Institute of Contemporary Art in Boston, the Danspace Project, Roulette Intermedium in New York City, the Center of Contemporary Culture of Barcelona (Spain), among others. His awards include grants, fellowships, and commissions from the Cambridge Arts Council, the Massachusetts Cultural Council, the Italian Cultural Institute of New York, the Jerome Foundation/Roulette, and the Illuminating Engineering Society of New York. Klar holds an MFA in Design and Technology from Parsons The New School For Design, and a BM in Composition from Berklee College of Music.
Albatross is a prototype mechanism exploring the interplay of data collection and robotics combining a robotic machine with mapping visualization software. Named after Baudelaire's poem encapsulating the central streams of Romantic thought, Albatross is an autonomous structure that roams a space until the end of its life, mapping and scanning the area. It has two limitations; the limitation of the space and the limitation of the radio frequency (RF) that influences the movement of the robot in the physical space and the trace-making in the virtual space.
Ilias Koen, was born in Athens, Greece in 1977. In 2002, he received his B.A. from the School of Fine Arts of Athens. In 2005, he received his MFA from the Computer Art program, School of Visual Arts. He has been awarded with scholarship from the Onassio Foundation and the Gerodelis Foundation. He is currently developing machines that interact with ideas of vision and perception. He lives and works in Athens, Greece and New York, USA.
polymorphic [d(eoxyribo)n(ucleic) a(cid)]: a love story
This installation consists two wall-mounted plates containing DNA samples and corresponding digital sequences from the artist and her partner. The DNA, while invisible, is represented in the laser etched plates using contemporary scientific iconography. The DNA sequences are visualized by using two video monitors (with audio) depicting lips speaking the DNA mapped to generative english language. The disembodied lips take turns speaking to one another, at times interrupting at other times remaining silent. The DNA sequence is derived from a collaboration between Lwin and scientists at NYU Medical Center, Study of Human Genomics, and the American Museum of Natural History, Center for Comparative Genomics. polymorphic [d(eoxyribo)n(ucleic) a(cid)]: a love story looks at the contemporary methodology for encoding DNA, and it's application and ethical ambiguities in genetic testing for the purpose of reproduction and it's impact on human evolution.
Marta Lwin is an artist, technologist, researcher and has recently completed her masters at the Interactive Telecommunications Program at NYU. Marta has a background is both in art and activism. She has worked as an activist in the early to late 90's, with Greenpeace, UNEP, Women's Environmental Network and Reclaim the Streets (UK). After joining a loose network of artists at Backspace (http://bak.spc.org/) in London she became interested in the creative use of technology as it relates to biology. Currently, her work focuses on the intersection of art, technology and include projects that critically challenge and subvert accepted perceptions of the relationship between nature and technology. She has recently been awarded a Turbulence Art Commission, with the support of the Jerome Foundation. Her work has been shown at galleries in Europe and New York. Publications covering her work including Engadget, Core77, Treehugger, Cool Hunting, MocoLoco, WorldChanging, Rhizome and We Make Money Not Art.
Weaving electric circuitry with handwork, SparkLab carves out a space for the cultural production of technologically crafted artifacts. Instead of technology influencing and shaping culture, SparkLab shifts the prevalent paradigm and empowers the deliberate amateur to tinker, create and shape technology, examining the way we use our wardrobe as an interface to interact with the world around us.
Sparklab consists of three main DIY wearable projects. The first DIY wearable is a detachable hood that uses light to reveal and conceal imagery. The drawstring of the hood functions as a switch. When tugged and pulled, the embedded string of LEDs hidden on the inside of the hood illuminate. When the light is activated, the image hidden inside the hood is revealed. The second project uses heat and thermochromatic inks instead of light. This jacket with thermochromatic elbow patches uses the zippers on the lower arms to send a current to the patches. A timing circuit allows the current to remain on for approximately 30 seconds. The last project, a wearable light kit is a leather cuff with LEDs embedded inside, uses Velcro functions as a switch so the bracelet only illuminates when it is in active use.
Syuzi Pakhchyan is a media designer and tinkerer working and residing in Los Angeles. She received her MFA in Media Design from the Art Center College of Design. Her MFA thesis titled SparkLab investigates the intersection between culture, technology and craft. Her designs explore and encourage ludic activities that celebrate the quirky and speculative, and reflect personal experiences and cultural narratives. Currently she is working as a freelance Media and Interaction Design Consultant and teaches a robotics class to children.
Places I've Lived & Traveled To, 1973-2005 is an audiovisual composition tracking the artist's movement patterns throughout her life, based on memories of living and travel. Places are arranged chronologically with relative durations, timescale: 30 seconds = 1 year. Latitude, longitude and elevation data describing each place are mapped to sound frequency. Audio output is input to video. Rhythms of sound illustrate movement patterns, and a waveform representation of the places Rogers has been continually pass by the window-like frame.
Tara Rodgers is a musician and writer. Her current projects use scientific and demographic information to render large-scale patterns of living systems in sound. As Analog Tara, she has released music on compilations with Source Records/Germany and the Le Tigre Remix. She also publishes Pinknoises.com, a Web site about women DJs and sound artists, which was nominated Best Music Web Site at the 2003 Webby Awards; and has written about electronic music for Leonardo Music Journal, Organised Sound, and other publications. Tara was recently a Visiting Professor of Sound at the School of the Museum of Fine Arts, Boston. She has a BA from Brown University and an MFA in Electronic Music from Mills College.