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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.)

The Star Trek Bridge playset was, hands down, the best toy I owned as a child. I played with it for approximately 10,000 hours. Especially the whirly-twirly transporter cubicle. I loved the psychedelic cardboard viewscreens, the tippy chairs and furniture, the stick-on UI for same that was as inscrutable and ridiculous as the authentic show computers. This toy had the magic, a vinyl-covered, detailed, configurable kind of magic that made you want to play with it for hours and hours on end.

I kept my Bridge playset for all these years. It sat in my Toronto storage locker for a decade, and then got shipped to London, where it now resides, along with my action-figures, in my office. And it still has the magic.

And now: the toy has been reissued, along with all the original action figures, including the two-tone aliens and the lizard dudes. The crew have the tiny blue phasers and the same dead eyes and the miniatures plastic Blundstones from the future. And I just saw the set, in person, in a comics shop, and it still has the magic.

Star Trek: Retro Bridge Playset

Star Trek Retro Action Figures


Digital Day Camp 2000 was an all-girl program designed to encourage media literacy to help provide access to art and technology tools to a statistically under-served group. The participants were paired with professionals from Oxygen Media, in addition to volunteers from Pixar Animation Studios, MTV, MTV Networks, and Cyber grrls, to discuss media literacy and the female image in the media today. Teams created an original, digital public service announcement (PSA) about a relevant social topic using digital video cameras and desktop digital editing equipment (imovie).


Digital Day Camp 2001

DDC 2001 explored sound mixing, digital music and sound composition, along with the fundamentals of radio documentary interviewing styles. Students created interactive interfaces for sound files of mixed interviews and music generated during the three week program. Tools were taught in conjunction with a curriculum about censorship and intellectual property rights, two highly relevant topics in the digital music world today. Sound artists and DJs from New York City as well as technicians from sound organizations provided lectures and professional critiques.


Digital Day Camp 2002 (DDC02) investigated architecture, public art, and memorials in contemporary society, via the theme "Building for the Void." The program addressed both the area destroyed by the September 11th attacks and its impact on the city's collective consciousness. Participants learned 3ds max, a 3D developing software donated to Eyebeam by Discreet Logic, along with the fundamentals of architectural design for unusual and highly sensitive areas. The tools were taught by local architects and new media artists and technologists, in conjunction with a curriculum focusing on the ethics of designing and building for sensitive topics and public spaces. Students' final projects took the form of a memorial for September 11th, to be placed in outer space, (applying parameters set by NASA). Students were able to use Eyebeam's 3-D printer throughout the program, creating actual 3-D models of their memorials for the final exhibition.



DDC 2003 worked to empower participating high school students with the knowledge and means to affect change responsibly and creatively. During the course, from July 7-24, participants were divided into teams of four and partnered with local activist artists and artist collectives. They used a variety of software and hardware applications in order to heighten public awareness about specific issues relevant to their lives and developed these concepts in three-tier communication campaigns. These small-group sessions helped the students develop highly innovative forms of expression such as blogging (personal web logs), contagious media (use of emails or web sites designed to be evocative, forwarded from friend to friend, spreading virally) and guerilla broadcasting (use of phones with audio/video capabilities and community access television networks).

Check out this video about DDC09.