Recent Projects

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The Natural History Museum is a new museum that offers exhibitions, expeditions, educational workshops and public programming. Unlike traditional museums, it makes a point to include and highlight the social and political forces that shape nature. The Natural History Museum affirms the truth of science. It inquires into what we see, how we see, and what remains excluded from our seeing. 

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emotional-labor.email demonstrates the before and afters of a new Gmail extension created to relieve users from the pressure of performing emotional labor by making one’s email read more happy, by adding additional and randomized smiley faces, exclamation points, and other signals of non-offense. The extension can be downloaded from GitHub.  

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Minicade is a web based tool that makes it easy to collaboratively create an arcade of silly mobile mini games with your friends while learning to code along the way. It is also a traveling cabinet that aspires to turn any city corner into a pop-up mini game jam.

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Many applications and governments can listen in on general conversation by accessing smartphone microphones. This microphone jammer creates ultrasonic noise at 24KHz, overwhelming smart phone microphones, but still allowing data access and SMS/GSM. The jammer must be within a couple inches of the microphone. 

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The first Computational Fashion publication is now available!
Buy it now or download a free PDF.

Computational Fashion: Topics in Fashion and Wearable Technology is a survey of ideas explored during Eyebeam's Computational Fashion events in 2012-14. The publication features excerpts from panel discussions and presentations covering 3D printed fashion, smart textiles, energy harvesting, intellectual property, and other issues impacting designers and entrepreneurs in this emerging field.

For more information about the Computational Fashion initiative, please visit: http://fashion.eyebeam.org

 

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Eyebeam Off-The-Grid Exhibition
Governor's Island: House 15
Friday - Sunday, 12:00PM-5:00PM
6 Sep 2014 - 28 Sep 2014


Solar Day
 is a sculptural installation by Torkwase Dyson addressing the intersection of and mutual relationship between sunlight, architecture, space, liminality, time and the body. Site-specifically located inside a mildly sunlit room, Dyson experiments with architecture as a technology to sculpt and compose sunlight for 20 solar days. Each sculptural element is engineered using minimal tectonic forms pulling daylight deeper into the interior space increasing luminosity and evoking serenity and contemplation. 

The installation is inspired by the seminal text Incidents in the Life of a Slave Girlwhere Harriet Jacobs’s [Linda Brents] describes living in her grandmother’s garret before escaping to New York. For seven years Jacob’s hid in the negative space of a pent roof to escape her slaver. She designated the nine feet long, seven feet wide and three feet high non-space within the intended architectural design as place for her emancipation.  With very little admission for either light or air over the years this micro-climate she radicalized as threshold to freedom simultaneously impacted Jocob’s physiological state. Dyson deconstructs the garret, to address spatial and geographic strategies of black resistance while pointing to the critical natural resources needed to support endurance and livability. 

To further explore ideas of light, memory, ritual, the body, space, and materiality, Dyson will collaborate with multi-media artists Bahar Behbahani and Shani Ha.  During a series of interactive engagements through video and performative sculpture, Ha and Behbahani will invite audiences to into the installation to explore sensory relationships to the materiality, touch, and light.

Shani Ha is on the edge of Art and Design.  She creates versatile sculptures by twisting familiar objects to question intimacy and its relationship to others.  Shani emphasizes or diminishes the shapes and materiality of these objects, which are usually related to private contexts.  These pieces are the catalysts photographs, installations, and collaborative performances.  Shani Ha is interested in social behavior in their relationship to comfort and conviviality.  Her sculptures suggest potential functions and tend to become design pieces.  They can be stimulated through performance, experimentation and appropriation, either spontaneously or with a scenario.  These actions engage the viewer and performer directly and provoke co-presence and social interactions inside the piece.  Shani was born in France but now lives and works in Brooklyn NY.

http://shani-ha.com/

Performance Date: Sept 27th @ 3:00

Bahar Behbahani is a multidisciplinary artist who lives and works in Brooklyn NY.Behbahani’s work addresses her long-term conceptual dialogue with memory and loss, representing her chronic displacement and longing. Through her lyrical videos Behbahani stages a contemporary cultural critique by layering and juxtaposing allusions to past and present socio-political circumstances with a language that she draws from her experience as a painter.   More recently, Behbahani has been working on a multilayered investigation, a collection of collaborative works, which encompasses a group of videos and a participatory installation, centering the role of bread in our contemporary culture through stimulating abandoned memories. 

Over the course of 2 hours, Behbahani takes the role of masseur, offering participants a 5-minute massage, while they are lying down to view a video. Shortenin’ Bread is a response to Torkwase Dyson’s sculptural installation, and examines the blurred line between consolation and discomfort. Shortenin’ Bread experiments with stimulating people’s memory through the process of being massaged while engaging their sense of sight and hearing, and together they experience the role of sensoria in reproducing forgotten memories.

Performance Date: Sept 20th @ 3:00

 

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Visitors play electronic sounds by standing on metal plates and touching each others skin. 

 

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MSHR made this installation for the closing party of Eyebeam's Chelsea location. They constructed all the elements during their residency at Eyebeam. The piece is a light-audio feedback system with sensors housed inside sculptural forms. The system can be modulated by human presence. An undulating, interplay of light and sound unfolds.

 

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Studio South Zero is a social and environmental art practice focused on bringing solar technology, architecture, sculpture, and nomadic place making to small-underutilized urban sites. Torkwase aims to inspire place-based adaptation toward hyper-local renewable energy and develop collaborative art works that access environmental resources based on what each microclimate provides.  As a interdisciplinary artist, her goal is to achieve zero carbon based participatory installations where artist and  audiences collectively use resources from zero energy architecture to support and activate their creative needs.  This project is guided by the philosophy of social sculpture and safe ecology. She aims to bolster civic pride through socially engaged art experiences that improve climate protection and environmental livability for us all.

Habitats for Carbon Free Social Exchange is the next solar installation coming from Studio South Zero.  Located at Surfside Community Garden in Coney Island, this modular solar powered architectural structure will serve as a communal art space for multimedia art collaborations between a wide variety of makers, growers, writers, performers and inventors addressing ideas of geography, climate, architecture, anthropocene, place un-keeping and environmental resources.  

Surfside Community Garden will host Habitats for Carbon Free Social Exchange from September 2014- October 2015

 

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Mashing augmented reality, sculpture, cocktails and opera, The Alices (Walking) is an experimental fashion show about spectacle, looking and looking at others looking. It portrays a culture so addicted to the devices of high technology that it can only bear a world that is filtered through them. 

Using the words of Lewis Carroll's 1865Alice's Adventures in Wonderland as a starting point, Hart expands the notion of madness to a live computational network. Steeped in the clichés of data-driven, punk and Romantic aesthetics, the live production is interactive and features five performers wearing "website dresses". 

Crafted from patterned fabrics designed by Hart, the dresses are embedded with visual content that can be read with a networked camera. During the performance, select audience members are invited to launch an augmented-reality application on phones and tablets, which recognize the inscribed patterns. "While the performance investigates breakdowns between the natural and the technological, it is also conceived as a means to create new experiences of human-computer interaction," says Hart. 

The Alices (Walking), crafts an Alice for our time with characters clothed in a cyborgian identity, one welded to the realm of smartphone devices. It is a system vulnerable to glitches and decay, as Carroll's original narrative is spun into text graphics that evoke pop-up banner ads and trashy web design. The novel's text evolves into animations of strobing concrete poetry. Phrases from the novel also form the basis for a libretto, sung and recorded by Claudia Hart with countertenor vocalist Mikey McParlane. 

Edmund Campion's score for the performance treats and adapts this libretto electronically. As each Alice on the runway is plugged into the system, a new code tree is activated. Tags and patterns of animated signage change, signaling the spaces of cloning, duplication, mutation and transformation. Staging an irrational cycle of haptic communication between the human and the machine, Hart's production ultimately channels death, rebirth, and an ambivalent desire for eternal life. 

Text by Laura Blereau, bitforms gallery