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Eyebeam presents an exhibition of animated still lifes created by Veronica Skogberg during her year-long fellowship in Eyebeam's Production Studio. Ingen Titel (or roughly translated to Untitled in Skogberg's native Swedish) will be on view through Nov. 4 with a special opening reception Oct. 19, 6-8pm. The exhibition is open to the public Tuesday through Saturday from 12-6pm and is free of charge with a suggested donation.

The photorealistic computer graphic environments in Ingen Titel reference the composition and lighting of traditional painted still lifes. By incorporating subtle animation into object textures and details, and introducing the element of time, Skogberg embeds the possibility of narrative in the images. Ingen Titel plays with the different ways audiences view still versus moving images, based on visual languages set up in film and painting. The animations were created using Maya, Mental Ray and After Effects.

Veronica Skogberg is a 3D artist with the focus on materials and lighting. Before Eyebeam she freelanced at various graphics studios in New York City. Skogberg studied painting, sculpture, product design and 3D animation Sweden before completing her BFA in Design and Technology at Parsons School of Design.


After decades of running her kinky Syrian lingerie store in the Hamidiya souk of Damascus, Teta Haniya comes to America bearing gifts. With over 60 years of Islamic teachings on seduction, and an arsenal of kitschy electronics, Teta Haniya hijacks the western panty, triggering the sexual liberation of the American woman.



A two-day presentation allowing a rare inside look at the current state of research at Eyebeam

Friday, May 15, and Saturday, May 16, 2009; 3 - 6PM
Eyebeam: 540 W. 21st St. (btw 10th and 11th Aves.)

New York City, April 28, 2009:

Eyebeam is pleased to host Open Studios for its 2009 Senior Fellowships and Winter/Spring Residencies at Eyebeam’s state-of-the-art new media design, digital research, and fabrication studio; showcasing work in the areas of  performance, experimental film, wearable technologies, open culture and sustainable art.

Eyebeam’s residents are selected from two yearly open calls of emerging artists, technologists and engineers for a six-month residency, which includes a stipend as well as access to Eyebeam’s facilities, equipment, and opportunities for collaboration and presentation of work. This group of five residents was selected from a group of 144 applicants.

Selection panelists included Eyebeam alum Robert Ransick (Bennington College, VT); Erika Dalya Muhammad (the Fashion Institute of Technology, NYC); Eyebeam senior fellow Michael Mandiberg (College of Staten Island/CUNY, NYC); Paul Amitai (Eyebeam programming coordinator); and Amanda McDonald Crowley, executive director of Eyebeam, with moderation by Roddy Schrock, production coordinator at Eyebeam.

Di Mainstone
Through a hands-on choreography of fashion, technology and performance, Di Mainstone creates playful adornments that roam the body, hiding and revealing tales that are close to her heart. For the Eyebeam residency, Di will prototype a set of wearable structures that question both our sense of interconnectivity as well as our understanding personal space within the city environment.

Reid Farrington
Reid Farrington is a director of work for the stage.  He has worked as a technical artist for The Wooster Group in NYC for eight years, with which he has toured internationally. He has also shown his work widely, both in the US and abroad. Reid is proud to be joining the ranks of Eyebeam residents to develop a software program to run the technical elements of his next piece Gin and “It”, which will premiere at the Wexner Center for the Arts, Ohio State University, in March 2010. The NYC premiere will take place in May 2010 at Performance Space 122.

Jon Cohrs
Jon Cohrs is a recording engineer and visual/sound artist who lives in Brooklyn. He has worked at the Guggenheim Museum as a new media art installer, and is currently employed by the artist Laurie Anderson. Jon also runs a successful recording business, Spleenless Mastering. His work has focused on exploring technology and how it can foster connections that invoke a sense of nurturing and growth.

At Eyebeam this spring, Jon will create a new form of TV by using the abandoned analog bandwidth ditched in the digital transfer. Jon will attempt to invert traditional television programming and replace it with user-generated and pirated content to address the evolution of media.

Rebecca Bray and Britta Riley
Rebecca and Britta are artists who have set out to start a NYC window-farm craze. They will work with agricultural, architectural, and other specialists to create high-profile prototype window farms and the means for sharing design ideas to meet the varying local environments of the city. Rebecca and Britta’s inspiration for community involvement derives from concepts of local production (think of the coming network of 3-D multi-material printers), mass customization, and mass collaboration enabled by Web 2.0.

They envision the DIY aspects as a futuristic infrastructure-light alternative to large-scale R&D. Through a combination of social media, and good old window advertising, they hope to frame a movement where people feel welcome to take part in the effort to turn scientific breakthroughs into actionable local tasks.

Kenseth Armstead
Kenseth is a multimedia installation artist. His works have been exhibited at the Brooklyn Museum; the Whitney Museum of American Art; The Solomon R. Guggenheim Museum; the Berlin VideoFest; and MIT List Visual Arts Center. His videos, drawings and sculptures are included in the collections of the Centre Pompidou, African American Museum, and numerous public and private collections.

While at Eyebeam, Kenseth will work on his ongoing HD digital video production environment that utilizes hand-made sets and an open source casting methodology to create the footage for the narrative feature-film Spook 1781. The film, which is based on a true story, relates the incredible tale of the spy/slave James Armistead Lafayette and his role in ending the American Revolution.

Senior fellows are former fellows who are invited to continue their research at Eyebeam as well as serve as mentors for incoming residents. These individuals are selected in recognition of their exceptional talent and the belief that a sustained research period is critical for the development of new ideas and innovative work—goals central to Eyebeam’s mission. All of the current senior fellows teach at graduate and undergraduate programs throughout New York City, have received numerous awards for their work, and are regularly invited to speak at conferences and take part in exhibitions both in the US and beyond.

Jeff Crouse
Jeff Crouse creates software and installations that combine, in equal parts, humor, absurdity and technology. Jeff’s previous work includes YouThreebe, a YouTube triptych creator; Invisible Threads, a virtual jeans factory in Second Life; and James Chimpton, a robotic monkey that interviewed the artists of the 2008 Whitney Biennial. He is currently developing BoozBot, a bar tending robot/puppet; and DeleteCity, a Wordpress plug-in that finds and republishes content that has been taken down from sites such as Flickr and YouTube. His work has been shown at the Sundance Film Festival, the Futuresonic festival in Manchester, UK, the DC FilmFest, and the Come Out and Play Festival in Amsterdam.

Jeff received his MS from the Digital Media program at Georgia Tech in 2006 and joined Eyebeam as a production fellow in 2007. He is currently an adjunct professor at the IMA program at Hunter College, and a freelance programmer.

Steve Lambert
Steve Lambert was born in California and is currently based in NYC. His father, a former Franciscan monk, and mother, and ex-Dominican nun, imbued the values of dedication, study, poverty, and service to others—qualities that prepared him for life as an artist. Steve uses popular culture and humor in a variety of media including drawing, performance, and video to deal with issues of public space, social controls, and commerce.

Steve is the founder of the Anti-Advertising Agency, and a creator of Add-Art, a browser plug-in that replaces ads on the Internet with art. Steve’s projects and art works have won awards from Rhizome/The New Museum, Turbulence, the Creative Work Fund, Adbusters Media Foundation, the California Arts Council, the Belle Foundation, and others. His work has been shown internationally. Writings about his work have appeared in multiple publications such as the New York Times, Punk Planet, GOOD, Newsweek Magazine, and NPR.

He currently teaches at Parsons/The New School and Hunter College.

Ayah Bdeir
Ayah Bdeir is an artist, engineer, and interaction designer. She graduated from the MIT Media Lab with a Masters of Media Arts and Sciences after studying Computer & Communication Engineering and Sociology in the American University of Beirut. With an upbringing spanning Lebanon, Canada and the US, Ayah’s work uses technology to look at cross cultural dialogue and media representation of the Middle East and its identities. Through mixing and matching tools and materials, Ayah experiments with animating classically static objects and putting technology where it typically doesn’t belong—from kitschy underwear, to design furniture, to electro-phobic art supply stores.

Her work has been published and exhibited in conferences, festivals and galleries in Amsterdam, Paris, New York, Rhode Island, Boston, Sao Paolo and others. Ayah teaches at Parsons and The New School with her colleague, Eyebeam alum Zach Lieberman.

Michael Mandiberg
Michael Mandiberg is an artist, programmer, designer, and educator. His work includes: the web applications about environmental impact, Real Costs, and Oil Standard; a textbook, Digital Foundations, that combines the historic design principles with modern software; and laser-cut lampshades for compact fluorescent lightbulbs.

Michael is an Assistant Professor at the College of Staten Island/CUNY. He lives in, and rides his bicycle around, Brooklyn.

A little grid more

Carsten Nicolai is one of the most renowned artists working at the intersection of art and science and infamous for his minimalist approach.

Having exhibited internationally at Documenta X and the Venice Biennale, he is also an active musician working under his music alias Alva Noto and has staged performances with Ryuichi Sakamoto at the Guggenheim NY to the Centre Pompidou in Paris.

This week, Gestalten is releasing his new book Grid Index, the first comprehensive visual lexicon of patterns and grid systems. A reference book for designers, visual artists, architects, researchers, musicians and mathematicians, Nicolai has discovered and unlocked the visual code for visual systems into a systematic equation of grids and patterns. We met Carsten in his studio in Berlin Mitte to talk about grids, books and music.

Subscribe to Gestalten.tv to download this film and all Gestalten Video Podcasts for free via iTunes.


guest post by Burstein!

Here & There

looking uptown from 3rd and 7th

Here & There is a composite 3D image created by Schulze and Webb that borrows representations of Manhattan from maps, comics, television, and games.

The projection works by presenting an image of the place in which the observer is standing. As the city recedes into the (geographic) distance it shifts from a natural, third person representation of the viewer’s immediate surroundings into a near plan view. The city appears folded up, as though a large crease runs through it. But it isn’t a halo or hoop though, and the city doesn’t loop over one’s head. The distance is potentially infinite, and it’s more like a giant ripple showing both the viewers surroundings and also the city in the distance.

The artists have posted a long and fascinating description of influences on this project at their blog.

Here & There

looking downtown from 3rd and 35th

via Warren Ellis

This is a blog post from Laughing Squid.

For more content like this, subscribe to the RSS feed, Twitter & FriendFeed.

Here & There - A 3D Horizonless Projection of Manhattan by Schulze & Webb

Related posts:

A Map of Marvel Comics Locations In Manhattan

Scintillation, A Mix of Stop Motion & Live Projection Mapping

Stereographic Projection, 360° x 180° Panorama Photography

ROFLThing NYC, Internet Memes Invade Manhattan

Video Projection on Homeless Man Making Him Look Invisible


Bus systems on campus can often be frustrating. You’re standing at the stop waiting and you don’t know if it would just be faster to walk. If you have a WaitLess tracking system at your stop, you can see exactly where the bus is and make that decision much easier. The unit is self contained, solar, and equipped with wireless internet. With an Arduino at it’s core, it displays the current location of the bus by lighting an LED on a map. You can see a video of it in action after the break.


[Ani Niow] built this steam powered vibrator. It has a milled stainless steel shell with a brass motor structure. The motor is a Tesla turbine made from a stack of Dremel diamond cutoff wheels. This drives an off-center weight to create the vibration. She tested it using a pressure cooker as the steam source. It worked, but became so hot it had to be held using welding gloves. It works just as well with compressed air though. You can see the device at the Femina Potens Art Gallery in San Francisco or later this month at Maker Faire.

[via Laughing Squid]

UPDATE: [Ani] responds in the comments.


If everyone took the passwords off their wifi, we'd have a free, citywide wireless network. Sound like a good idea? Then help us make it happen!

Eyebeam's Open Cultures Research Group ran workshops in which participants were trained—in order for them to be able to train others—to open up a wifi network so that it is free, accessible, and secure for others while maintaining your bandwidth.  They also set up a web site to document the process and share the knowledge.

image from www.mutsugoto.comA project developed by Scottish think tank Distance Lab gives partners a tool for exploring art, intimacy, and the body’s relation to space.  The interactive installation Mutsugoto rigs participants with touch-sensitive rings keyed to cameras and projectors.  The movements of one partner’s hands across his or her body project shifting bands of light onto the other, whose responses project shimmering lights across the miles onto the first.  The participants can see one another’s bodies and reactions, and the light beams change color and form when they cross.

The project transcends text-based flirting–which Mutsugoto’s creators describe as “generic interfaces in business-like venues” and historically has led to crass, detached fantasies–and the too-graphic “sexting” of cell phone cameras.  Giving partners a way to express physical love while separated, the effort stands as both collaborative media art and highly stylized sex.  Touted as “a different kind of synchronous communication that leverages the emotional quality of physical gesture,” the system raises questions about the nature of intimacy and makes partners more aware of the shifting balance of sexual and intellectual attraction.  Mutsugoto also provides an opportunity to explore the spatial limits of the body.  While highlighting the body’s connection to creativity and playfulness, the project uses light to simulate an extended form of touch.  This leads to a dynamic tension as the participant’s sphere of awareness is expanded over distance while simultaneously being focused closely on another lone individual.

Distance Lab plans to present Musogoto at the Edinburgh Art Festival in August 2009.

Inflatable environments are undergoing something of a renaissance today. Not since the 1960's embrace of bubbles in their numerous connotations (lightness, transparency, embrace, equality, difference) have so many projects used air as a medium for shaping enclosures, although they are still on the outskirts of architectural production. Technological and other advances have aided, if not outright negated the disadvantages of "bubbletecture," namely durability and wastefulness.

[historical bubbletecture, top to bottom: 1960's inflatable by Jersey Devil (source); L: The Environment Bubble, 1965 by Reyner Banham & Francois Dallegret (source) R: Pneumakosm, a pneumatic dwelling unit, 1967 by HAUS-RUCKER-CO (source); Clean Air Pod,1970 by Ant Farm (source); page from Ant Farm's Inflatocookbook (PDF source)]

Of those exploring inflatable architecture in the sixties and seventies, Ant Farm was the most prolific, gearing a number of projects around air and plastic, and even creating an Inflatocookbook (PDF link). Fellow Americans Jersey Devil also explored what they called Inflatables in the early seventies, likewise created as "happenings" that stood out in their urban contexts, like alien crafts landed amongst the stone, glass and grass. In Austria upstarts like Coop Himmelb(l)au and HAUS-RUCKER-CO explored the possibilities of pneumatic dwelling units, yet without clients or sites they failed to get beyond the prototype stage. Even critic Reyner Banham got in on the act, combining the ideas of Bucky Fuller and Marshall McLuhan in a transparent igloo he designed with Francois Dallegret.

[Michael Rakowitz's paraSITE | image source]

The inflatable trend faded as fast as it started, finding use primarily for temporary stagings and art installations. Michael Rakowitz's paraSITE (1998-ongoing) can be considered part of the latter, though it engages the social, economical and political directly in the use of inflatable structures to house homeless individuals. By hooking the deflated plastic to a building's HVAC vent, a small enclosure is created, with the expelled air inflating the double wall. Importantly, in terms of my exploration of this architectural element here, the air used to shape and heat the space does not come into contact with the inhabitant; it is not part of the space itself, like the Ant Farm and Jersey Devil examples above. The design of the paraSITE's plastic shell is therefore much more complex, with many more seams, and even windows in the one on the left.

[Alexis Rochas's Aeromads | image source]

SCI-Arc's Alexis Rochas created Aeromads, installations from 2006 that questioned the domestic realm and harked back to ideas from 40 years ago, though Rochas's designs utilize the computer to create more complex forms. He "considers the idea that one’s home is a malleable, movable environment that can be deflated and fit into a suitcase, then travel to a new location with its owner. [source]" Again, air inflates what creates the enclosure.

[OMA's Serpentine Pavilion, 2006 | image source]

OMA and Cecil Balmond's 2006 Serpentine Pavilion in London can be taken as a purely symbolic attempt at reintroducing inflatables into architectural discourse. The inflatable enclosure sits above the main space, inaccessible and indirectly visible from below. But from afar the enclosure stands out, visible from a distance. The possibilities of using inflatable walls for architectural enclusre is not explored here, but like a moored hot-air balloon, the pavilion marks a space and place with minimal means, one of the advantages of air as a medium for architecture.

[Raumlabor's Spacebuster under the BQE | image source]

's Spacebuster has been in the news a lot lately, when it made its way around New York City on a ten-day tour. Spacebuster is part of the German architects' ongoing investigation of unused urban spaces, which started with inflatables in 2006 with the Kitchen Monument and includes last year's Glow Lounge.

[Raumlabor's Spacebuster under the BQE | image source]

Their truck-towed events in New York included film screenings, performances and community meetings, the last under the BQE in Brooklyn the day before Spacebuster left town. Situated in a typically unused space, the community meeting used the opportunity to investigate other ways of doing the same. The possibilities of guerilla engagement with urban sites is certainly clear in Raumlabor's latest undertaking; one need only drive the truck to a parking lot, underpass or some other un/underused site and take advantage of the bubble until the cops arrive. The fact that the air and inhabitants occupy the same space, a la Ant Farm's and Jersey Devil's inflatables, makes this design suitable for these temporary happenings, but not necessarily a good precedent for further architectural investigation beyond the engagement of urban sites.

[mmw's kiss the frog | image source]

mmw architect of norway's 2005 kiss the frog was a temporary art pavilion linking four institutions in Oslo. The aptly-titled design is structured in parts like a tire, with powerful fans pushing fresh air into the spaces. The pressure difference between inside and outside air means the former pushes out on the PVC skin, giving the pavilion its shape. In designs like this, which require a constant supply of air and the energy to do so, necessitates a well-sealed skin and hatch-like access points to keep as much air inside as possible.

[Kengo Kuma's Tea House | image source]

The Tea House Kengo Kuma designed for the Museum für Angewandte Kunst in Frankfurt (yes, that one) a couple years ago is a double-wall membrane embedded with LEDs for nighttime use. Rooted in similar design investigations in his home country at the same time as Americans and Austrians were doing the same, most notably in the Fuji Pavilion at Expo 1970 in Osaka, the small yet complex project is documented in a book. This product that might be as or more influential than what is once again another temporary inflatable enclosure. The refinement of Kuma's design, filled like a 3d air mattress, points to an elevated level of sophistication possible with air as supporting structure. The double-wall enables openings to have free access, without worry and energy expended on keeping the air inside, and the high-tech skin provides for longer durability.

The above projects continue the temporary nature of inflatable architecture, but they point to their continued use in the coming years. Perhaps we'll see their longevity increase, as techniques of using air as a structural medium and membrane technologies improve.