Reynold Reynolds's three-channel video installation, Based on an Actual Event, looks at the fictional portrayal of American military forces in 20th century war. While each film simulates an actual event, each new war simulates previous wars as shown in popular films. Conceptions of war become reality through the depiction of war as entertainment.
Reynolds is a filmmaker living and working in New York City. His films have been screened at the Sundance, Rotterdam and New York Film Festivals, among others. He received an MFA in photography from the School of Visual Arts, New York, and has studied film and physics at the University of Colorado, Bould
Wednesday March 17, 2010 1:30 - 7pm Eyebeam Art and Technology Center
We all agree open sourcing hardware is important, and as practitioners, many of us have been involved in work, research and talks about it. To date, no universal "right solution" exists. While Creative Commons licenses are widely used for software, there is a growing number of groups using the licenses for hardware, without necessarily accounting for the difficulties and restrictions hardware imposes. In short, open source for hardware is not like open source for software, and thus cannot use the same legal tools.
The purpose of this workshop is to create a direct dialogue between Creative Commons and some of the most significant players in the Open Source Hardware Community . CC representatives will be sharing their perspectives while listening to the needs and perspectives of this community, in order to help form more appropriate licensing options for open hardware.
This workshop was organized by Ayah Bdeir (littleBits founder, Eyebeam senior fellow) with John Wilbanks (VP Science, Creative Commons) and Thinh Nguyen (Legal Counsel, Creative Commons).
Additional support by Ted Ullrich and Celine Assaf
Videos cover the first half of the workshop: presentations by John Wilbanks and Thinh Nguyen of Creative Commons. John Wilbanks shares Creative Common's background, structure and roles. Thinh Nguyen provides an overview of intellectual property tools and rights tailored for groups creating open source hardware.
The Spacesuit Gloves project is an attempt to digitally refine and experiment with flat patterns for pressure tight gloves. The vacuum of space and micro-atmospheres of nearby planets require a safe, lightweight and highly functional pressure tight spacesuit for human exploration. With gloves as a starting point for the development of a hermetic full body suit, Ted Southern is digitally developing sophisticated flat patterns which, when inflated, allow a full and easy range of motion for the human body in all its variability. Outer layers for thermal and ballistics protection will also be refined using Eyebeam's facilities.
Pressure tight gloves will be on display interactively, in a vacuum chamber glove box at Eyebeam, and positively inflated for demonstration and test purposes.
Jet Set Willy Variations consists of modifications of the 1984 video game Jet Set Willy. The original game was made for the obsolete British computer Sinclair ZX Spectrum, which was popular in the early 1980s.
"These versions of Jet Set Willy...become increasingly more abstract, finding inspiration in the non-narrative parts of the game. One of JODI's modifications is based on the copy-protection card, a red, blue, green and pink grid that shipped with every copy of the original game. The pattern provided access codes that were necessary to 'unlock' the game. Trying to navigate the white square that represents Willy through the coloured blocks of the copy-protection screen is nearly impossible." —JODI
The goal of Videoplace was not to create an art work that happened to be interactive, but to raise interactivity itself to the level of an art medium. This required redefining the human interface so that the system perceived the movements of participants' bodies rather than receiving commands from them via traditional input devices. Upon enter the "Videoplace" installation, visitors are confronted with their own images projected into a simple graphic scene in which everthing that occurs is a response to their actions.
Visitors can interact with 25 different programs or interaction patterns. A switch from one program to another usually takes place when a new person steps in front of the camera. The end goal is to develop a program capable of learning independently.
Think of the people now is a Commodore Amiga hyper-media computer programme, based on the theme of a media reported event from the 1990 Remembrance Ceremony in Whitehall, London. A young man ran out from the crowd and set fire to himself and shouted the words "think about the people now" in protest against the ceremony. The media account that followed discussed the event in extreme trivial terms, failing to report anything but minor details and accounting only for the stress felt by the Royal Family and Politicians present. The Amiga hyper-media programme recreates the event through the media reports, trivializing and critiquing the British press. This work was produced as part of the final MFA degree show for The University of Reading in 1991. It was awarded the Golden Nica Award Prix Ars Electronica that year. Think of the people now was exhibited at Eyebeam Atelier as part of the Prix Selection Exhibition.
America’s Finest (1993-5) utilizes an M-16 rifle and manipulated optics to question the identity of agressor and victim and the role played by images of war in the psyche of the observer. The work enacted the idea of Étienne Jules Marey's camera-gun, already implicit in Room of One's Own, her third interactive work created in 1990. America's Finest was shown as part of the Prix Selection exhibition at Eyebeam Atelier.
Hershman Leeson is an Emeritus Professor of Digital Art in the Techno Cultural Studies Program at the University of California, Davis, and an A.D. White Professor at Large at Cornell University, the highest honor bestowed by that institution.
Kazuhiko Hachiya’s Inter Dis-Communication Machine, composed of a video camera, transmitters, head mounted displays, batteries, and feathers is a communication system aimed at transmitting and receiving sensual experiences.
Used by two people wearing head-mounted displays, the ‘machine’ projects one wearer’s sight and sound perception of the environment into the other one’s display, thus confusing the borders between the identities of ‘you’ and ‘me’.
The Inter Dis-Communication Machine allows its wearers to ‘enter’ each other’s body and perception without being able to influence it. This work was exhibited as part of the Prix Selection exhibition at Eyebeam Atelier.
Designing interfaces between vegetal and device-related systems, between man and machine, is one of the greatest challenges of interactive technology. No differently than in the industrial context, here too, the use of intuitive and user-friendly control tendencies is supremely decisive. With Interactive Plant Growing, Sommerer and Mignonneau demonstrate an artwork of this species. Activating the plant triggers an image-generating impulse. This calls for neither the preparing of a symbolically conveyed action, nor the designing of ergonomically-formed pieces of equipment to make its control possible. The juxtaposing of the real plant and a computer-generated version of nature latently recalls explosive themes that arose when discussing the use of research results in the fields of natural science and technology.
n-cha(n)t is an audio visual installation that allows participants to eavesdrop on or infiltrate the conversational patterns of a networked community of computers. Inspiration for the work came from a strong and somewhat inexplicable desire to hear a community of computers speaking together: chattering amongst themselves, musing, intoning chants. n-cha(n)t was exhibited as part of Prix Selection at Eyebeam Atelier.