Recent Projects

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During the UN Climate Change Conference (COP15) in Copenhagen in December 2008, a collaboration venue for artists and climate activist groups was constructed to invite individuals to play “GOOD COP”. With access to the conference site growing increasingly restricted, GOOD COP aimed to make individual voices heard during the critical week of negotiations. The public was invited to come voice their own statements on the GOOD COP stage.

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Corporate Commands is an ongoing series of public space performances based on corporate advertisements in the form of the imperative such as "Just Do It", "Turn on the Future", "Think different", etc. The Institute for Infinitely Small Things performs these corporate commands where they occur in the urban landscape, enacting each command as literally as possible. Past performances include: "Rollover", "Say it with Flowers", "Become a Believer", and "Enjoy Life".

 

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Social Telephony Files documents work by Graham Harwood and Matsuko Yokokoji in which telephone networks are set up for communities to develop and maintain links to those they trust, and communicate in familiar languages using accessible technology. Social telephony functions in terms of an “aesthetics of connectivity”, building social networks between people that allow them to communicate in unexpected patterns and reveal different kinds of relationships.

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Steve Lambert and Packard Jennings asked Bay Area architects, city planners, and transportation engineers, “What would you do if you didn’t have to worry about budgets, bureaucracy, politics, or physics?” Ideas from these conversations were then merged, developed, and perhaps mildly exaggerated by the artists to create a series of 6 posters for the San Francisco Arts Commission’s Art on Market Street Program. Supported by the Eyebeam OpenLab.

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Hacking Couture is a platform for launching new fashion creations through an open source approach of reverse engineering fashion brands and making the code available online. Hands on workshops encourage participants to create using the codes regardless of their level of fashion knowledge, and to engage in the larger fashion conversation. By understanding the coding of established fashion, this project provides a platform to empower participants to step up and create.

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Ten Thousand Cents is a digital artwork that creates a representation of a $100 bill. Using a custom drawing tool, thousands of individuals working in isolation from one another painted a tiny part of the bill without knowledge of the overall task. Workers were paid one cent each via Amazon's Mechanical Turk distributed labor tool. The total labor cost to create the bill, the artwork being created, and the reproductions available for purchase (to charity) are all $100. The work is presented as a video piece with all 10,000 parts being drawn simultaneously. The project explores the circumstances we live in, a new and uncharted combination of digital labor markets, "crowdsourcing," "virtual economies," and digital reproduction.

 

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Bringing back the WPA (Work Projects Administration), because the US Government won't.

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This project will examine where the production of contemporary electronic music engages with
informal economies and transnational distribution networks, with a specific focus on the Mexican
cumbia sonidera scene along the East Coast such as Passaic, NJ. Although thriving, with dozens of parties each month in the NYC area alone, this scene has been ignored by both English- and Spanish-language media. Its locally-produced music enters, almost immediately, into highly fluid global routes of circulation. At parties, for instance, crowds give the DJ handwritten notes and text messages to be read on top of the music; these contain shout-outs to distant family, friends, and lovers. Afterward, the DJs sell live recordings of the night, which attendees then purchase and mail across the border (or hold onto as personal souvenirs).

I'm particularly interested in how these practices touch on aspects of memory and tangibility in the
digital age, transmissions across public/private space, new American-ness, and an emerging border discourse, often within non-internet-mediated "offline" digital communities.

Multimedia documentation (mixtape CD, poster, bilingual blog, video, etc) will explore the "invisible" cultural production, from the extremely local (bedroom studios in Passaic, NJ) to the transnational (bootleg distribution networks, international soundsystem circulation, piracy, and more), in such a way as to be useful to the 'sonideros' themselves as well as curious newcomers looking to learn more.

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SADbot (The Seasonally Affected Drawing Robot) is a solar powered, interactive drawing machine for the Eyebeam window gallery in New York City. It uses two 18.5'' x 13'' solar panels to power two stepper motors which allow the control of a pen in two dimensions.

SADbot also takes input from people walking outside, by using a set of sensors which can tell how much light they're getting (photocells) and putting them up against the inside of the window, SADbot knows if someone is covering up one of the sensors, and can change its drawing behavior accordingly.

The window gallery doesn't get any direct sunlight, so we set up an array of mirrors on the roof of Eyebeam to direct sunlight to a fixed mirror hanging off the roof to reflect light down to the solar cells in the gallery window. The solars cells, in turn, power the motors to run the drawing machine.

Some of the components and techniques we're using will go into Dustyn's book, Making Things Move, and everything will be documented and made open to the public. We are using open source platforms as much as we can (Arduino, Processing, Sparkfun's EasyDriver motor boards), so anyone that wants to can make their own SADbot.

Support SADbot on Kickstarter until June 30th: http://kck.st/azlbFp.  SADbot was in Eyebeam's gallery from June 10th - July 24th 2010.

SADbot on flickr: here, here, and here (or just search for the tag: sadbot)

Full project documentation in this Instructable and in project 10-3 of the book.

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This photo booth was created for the “Olympiad” mixer that took place on March 12&13th, 2010. The following materials were used for the curling stone hat:

  • Red & Silver Pleather
  • Batting – to give the puffy look in the silver area
  • Cardboard – to stiffen the vertical part of the side of the stone, to give shape to the red top
  • Stiff wire – to stiffen handle part
  • Glue gun – to stick top to metal stone

A person gets under the stage, sticks his head through the hole, and wears the curling stone hat. The other people stand on the stage either releasing the stone, or brushing. Group photo is taken! More photos are here on flickr.