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ASA Spring 2002

The Spring 2002 ASA-Program took place at Eyebeam Atelier's new West 21st Street classroom and served 30 NYC public middle and high school students, selected with the assistance of the Manhattan Superintendents Office. The 12-week program focused on the themes of teen identity and the deconstruction of media messages about teens. Students worked in a studio environment; learning different media tools via an instructor and a diverse group of guest speakers from the art and technology fields. The ASA students rotated to work with different students in small teams throughout the semester, with the ultimate goal of finishing a series of small projects for their digital portfolios. Student work was presented at the Eyebeam exhibition space during a family art and technology showcase at the end of the program.

High School Program
Cory Arcangel co-taught along-side Eyebeam's Cat Mazza to teach the last round of ASA HS students the fundamentals of game development and game theory. Final projects were self-directed games created in teams and focused on teen life in NYC.

Middle School Program
Michael Bell-Smith worked with his group of ASA middle school students to create animated self-portraits using programs such as Photoshop and Director. Final projects consisted of 15 individual portraits; reflections of the different personalities in his 12-week course.



ASA 2003

Middle School students participated in Acoustic Ecology and Soundscape Recording. Hearing goes largely under-utilized in contemporary society, frequently being relegated to a mere accentuation of our visual world. In this course, participants will be exposed to a wide range of ideas, techniques and technologies for focusing and sensitizing their aural awareness of the world around them. They will consider how enhancing this aural awareness can alter their relationship to the urban environment and what impact human sound making has on that environment

High School students participated in Viewership, Authorship, Ownership, an investigation of ownership in both literal and conceptual terms. Re-appropriation of media entertainment to build a sense of self, create a media self-portrait, and learn the important lessons that come with borrowing media. In the end your self-portrait may not be your own.


ASA Spring 2004
The Spring 2004 class, entitled Recycling Media, was initially planned as an experiment in combining the processes of stop-motion animation with that of collage and video appropriation. Teaching Artist Andrew Lynn originally envisioned a single experimental documentary being the product of this class, but the course evolved according to the needs and wishes of the students, and instead produced several short ones. "I could not have planned a course to turn out such diverse projects as the ones produced here in the past weeks," stated Lynn. "The work seems to be a result of me letting go of some of the core ideas that were important to me at the outset and embracing the new ones that were brought to table by the student artists."

Student Projects:
The Life of Homosapiens in Their Natural Habitat
By Benjamin Huang & Eljun Eadie
In this mockumentary of everyday life, Eljun and Benjamin have edited video footage of people ‘going about their business’ to construct a clever and funny look at human activities.

The Best Shape of a Car
By Ruhul Ikram
Ruhul used a series of taped advertisements as footage for a re-edit of a commercial which juxtaposes shots of automobiles with fast-paced sports sequences. He was very interested the shapes of the cars themselves, but also in creating a separate piece that combined many of the ads he had collected without being an ad itself.

The Pieces of the Puzzle
By Gabriel Felts
In this piece, Gabe puts together a home-made puzzle created while experimenting with a scanner, photoshop, and music/voice recording. See stencils and original image on display.

By Leticia Cancel & Patricia Huerta
This is an animated story about war involving a town and a golden tree. Leticia and Patricia constructed an elaborate set from cardboard, legos, and clay, then shot all of the movements frame by frame using a digital frame-capture program.


ASA Spring 2005

High School
Fakes: Digital Documentary and the Animation of ‘Truth’

Teaching Artist: Benj Gerdes
Experiments in simulation, forgery and dishonest documentary provided a basis for a class dialogue around ethics and the concept of truth in our contemporary political moment, alongside reconsiderations of the relationship of sound, image, and text in critical art practices.

Middle School
Electronic Recycling
Teaching Artist: Federico Muelas

Students worked with Basic Stamp microcontrollers, commonly used sensors (light, motion, heat, touch, etc), and basic physical computing to control “hacked” old and/or out of order devices such us VCRs, slide projectors, computers, and electronic toys. The 'recycled' equipment was re-engineered to develop a series of projects which comprise a visitor-driven interactive installation.



After-School Atelier (ASA) is a semester-long program that provides NYC public high school and middle school students the opportunity to work in a studio environment and develop new media art projects under the guidance of Eyebeam's Teaching Artists. Students work on independent and collaborative projects using digital video or sound, robotics, circuitry, and/or web programming with the selected Teaching Artists, professional mentors, education staff and their peers.

ASA Fall 2005

High School
Hypercity Vlog: Imaginary Cities and Utopian Practices in Multimedia

Teaching Artist: Antonio Lopez

To view student projects please visit: http://utopianhypercity.blogspot.com/

This program exposed students to various media practices from pre-technological oral cultures to the present digital media environment through a group project that enabled students to report from a Utopian future hypercity using a video Web log (Vlog). The objective was to use a media ecology approach to help students understand how communication tools both shape and reflect cultural practices. A scaffold approach to media ecology embodied within it both deconstruction and production media skills.

Background: Though we see Utopian visions everyday in advertising, in the "real" world Utopia remains an illusive goal. Yet many on-line artists and community networks are creating and promoting new technology as a path to a Utopian society. Is this true? To answer this question it is necessary to excavate how past communication technologies influence Utopian concepts. By learning about various modes of communication (text, oral, time, space, networked) and how they influence our perception of the world (and future), students will explore various media practices that will be combined in a final project, documenting a Utopian future through available communications technology.

Teaching Artist Bio:
Antonio López's goal as an educator, journalist, media producer and speaker is to bridge worlds—mental, cultural, physical and spiritual (www.world-bridger.com). López is an expert on media, culture, Native American and Latino issues. López was a content provider for a groundbreaking Spanish language media and health CDROM produced by the New Mexico Media Literacy Project, Medios y Remedios. Currently he is a nationally syndicated editorial writer for the Progressive Media Project's Latino Voices series. He teaches and trains instructors in outreach, media production and media literacy, specializing in rural communities. He's written for LA Weekly, Frontera, Hispanic Magazine, Urban Latino, Southwest Art, El Andar, In These Times, New Mexico Magazine, Native Peoples, Tricycle and Punk Planet. He was a staff arts writer for Santa Fe's daily newspaper, The New Mexican and the Albuquerque Journal. He received professional training at the Center for Investigative Reporting in San Francisco, and earned his BA in Peace and Conflict Studies at UC Berkeley and MA in Media Studies at the New School University. His artistic collaborations include the multimedia outfit, My Country of Illusion (www.mycountryofillusion.com). His radio art pieces and experimental video have been featured at numerous festivals.


Middle School
Teaching Artist: Lafiya Watson
Participating School: Institute for Collaborative Education (ICE)

Everyone has had perceptions and labels placed upon them, and oftentimes those labels are wrong. It is especially frustrating to deal with false perceptions when one is still in the process of figuring out his/her identity. Through a series of web art projects using Flash (online animation software) and Photoshop, this class gave students a chance to address and debunk those perceptions placed upon them, as well as embrace and create their own true sense of identity.

Teaching Artist Bio:
Lafiya Watson is a recent graduate of Long Island University’s Interactive Multimedia Art masters program. She is a freelance web designer and photographer, whose work weaves elements of comic and cartoon influences. Her primary web clientele are jazz musicians including: Horizon, the 29th street saxophone Quartet, and Michele Rosewoman. Her work has been shown in various galleries, jazz publications, and on television during a BET documentary about jazz musician, Bobby Watson. Aside from her art career, Lafiya also has experience working with kids, most recently working several years with lower to middle schoolers at an afterschool program at P.S.137.


After-School Atelier (ASA) is a semester-long program that provides NYC public high school and middle school students the opportunity to work in a studio environment and develop new media art projects under the guidance of Eyebeam's Teaching Artists. Students work on independent and collaborative projects using digital video or sound, robotics, circuitry, and/or web programming with the selected Teaching Artists, professional mentors, education staff and their peers.

ASA Spring 2006 Course Descriptions:

Benton Bainbridge's ASA Class - "VJ-U":
This is a hands-on workshop to learn the tools and techniques of the Video Jockey, including computer and standalone hardware tools for audiovisual clip production, live performance and display.

Key "VJ-U" concepts, philosophies and exercises include:

  • making content ("clips") with low-cost and easily available tools
  • thinking of moviemaking in musical ways
  • electronic "graffiti"
  • video as a medium of personal expression and dialog
  • equipment errors and software bugs as opportunities for unique 'looks'
  • plugging audio into video for synchronous visual FX
  • getting "looks" cheaply with obsolete a/v tools found on the internet
  • turning passive Media Consumers into active Video Makers

Benton-C Bainbridge is a Bronx-based artist working with video as a painterly and performable medium. Using custom digital, analog and optical systems, Benton-C seeks to capture music's human abstraction in moving images.

Benton-C Bainbridge has VJ’d, performed, screened, streamed, broadcast and installed video world wide over the wires and airwaves and in museums, galleries, planetariums, clubs, colleges and festivals including the Whitney Museum of American Art at Philip Morris (NYC), Museum of Modern Art (NYC), the Hayden Planetarium (NYC), Hirshhorn Museum and Sculpture Garden (Washington, D.C.), Teatro Colón CETC (Buenos Aires), Mercat des les Flores (Barcelona), American Museum of the Moving Image (NYC), The Kitchen (NYC), Boston Cyberarts Festival, Sonic Light (Amsterdam), Dallas Video Festival, Madison Square Garden (NYC), Wien Moderne (Vienna), Inventionen (Berlin), CELCIT (Managua), MTV Networks (worldwide) and Hotwired (World Wide Web).

Bainbridge co-founded the live video ensembles NNeng, The Poool, 77 Hz, Lord Knows Compost, and Stackable Thumb to compose and improvise cinema. Benton-C has collaborated with Abigail Child, Bill Etra, Beastie Boys, 99 Hooker, Hoppy Kamiyama, Johnny deKam, and Venetian Snares amongst hundreds of other artists and performers.

Currently, Benton-C Bainbridge is designing video for RGB LED displays and live spectacles on stage and TV with FUEVOZ, a company he cofounded with V Owen Bush.

Patrick Meagher's ASA Class - "Printed Matter":
In this climate where the media and publishing worlds are becoming increasingly monitored and censored, this class will be positioned as a means for finding outlets for otherwise ignored perspectives, in the form of making professional-grade books, comics, zines and printed matter from the desktop, and exploring ways of getting them into the public eye. Optimally, the class will produce a set of books and printed matter that can seamlessly infiltrate bookstore shelves and present themselves for discovery either by the general public, staff, or corporate officers. -As such, a kind of intra-corporate graffiti or critique mechanism.

  1. ENVISIONING your ideas in printed form
  2. PLANNING your first D.I.Y. Printed Matter Project
  3. CUSTOMIZING optimal templates to suit your expression
  4. COMBINING techniques & COLLABORATING with classmates
  5. ASSEMBLING your text/work into order and exporting as PDF files
  6. EDITING & PROOFING with classmates to finalize the final file-to-print
  7. PRINTING FINAL PRINTS at eyebeam, Kinko’s and at one’s home
  8. BINDING the books field trip to NYC’s first ‘instabook machine’
  9. SHOWING WORK AT ‘BOOK-FAIR’ Show&Tell Exhibit! and Guerrilla DISTRIBUTION tactics!

Artist Statement: As a native New Yorker, I grew up in the genesis of the graffiti movement; was a young tagger in the days of violent competition, a graffiti writer, an art-piecer and then later/still a conceptual sticker-bomber and wheat-paster as well. Having this early experience and interest, I also possess a fairly comprehensive (art history/ street-history/ culture-jamming) understanding of the global graffiti movement. Ultimately I see the development of these subjects and techniques as part of a grassroots fomenting of a post-modern paradigm shift - a vision of digitally enabled manifestations of a ‘contemporary Aquarian age’ of enlightenment.

I'd like to say a big thanks to James Daher for manning the reBlog for the last few weeks, it's been great seeing what he's been following on the web.

And I'd like to say hello to Ben Leduc-Mills our new reblogger for the next couple of weeks.  Ben is a freelance designer, art machine maker, as well as being web and systems technologist at Eyebeam.  He received his masters in 2008 from NYU's Interactive Telecommunications Program and a BA in philosophy and pre-law at UC Santa Cruz.  Other interests include co-founding a hip-hop label, being Canadian, anti-estabishment pranks, lasers, coffee, and bourbon.


Ever wanted to make your own LED? You might be tempted to after reading how easy it is. No, this won’t really be a practical LED that you would use to light a project, but it is very cool anyway. [Michael] picked up a box of Moissanite, or Silicon Carbide, on eBay for roughly $1. Making the LED is as easy as putting your positive lead to the crystal and touching it with a sewing needle attached to a negative lead. He has tips on how to get the best results as well as a little bit of history of LEDs on the site.

[thanks Andreas]

[dunk] sent his home made Radio Control system. It is constructed from a Playstation 2 controller, an Atmega 2561, microcontroller, some RF modules and various servos and motors. It seems to work pretty well. You can get all the schematics and source code on his site. Several people have submitted a similar project which involves an iPhone and a helicopter, but that one is a bit dubious, mainly due to it’s lack of detail.

Douglas Rushkoff, the author of Life Inc., is a guest blogger.

Here's Patrick Dixon, of Siemens, advertising as features all the things about RFID tags that I always thought should bother people the most. The first time I watched this, I figured it was The Yes Men having one over on the Ascent Business Leadership Forum.

I mean - it's all there: implanted RFIDs with human brain tissue growing naturally over them, total surveillance, predictive marketing... I suppose it's possible I'm still seeing this out of context - and that the speaker is actually pointing out how scary and strange this stuff gets. But I don't think so.

My favorite bit may be the reaction shot of one of the businessmen, who seems to be actually considering whether he is now fully and irrevocably engaged with the dark side of the force.

(Thanks, Joe, for sending it my way.)