On November 17th 2pm~4pm I was at the Union Square and marched For or Against friends and enemies. That day, a large group of students and activists gathered in Union Square to Zuccotti Park as part of Occupy movement. I brought two pickets that, one side have ‘My friends’ and another side have ‘My enemies’ and another picket have ‘there is no friend’ and another side of that picket have ‘there is no enemy’. I engaged in coversation with strangers and friends with questions about the conditions of democracy and politics of friendship!
Baroque.me visualizes the first Prelude from Bach’s Cello Suites. Using the mathematics behind string length and pitch, it came from a simple idea: what if all the notes were drawn as strings? Instead of a stream of classical notation on a page, this interactive project highlights the music’s underlying structure and subtle shifts.
Lumarca is a truly volumetric display which allows viewers to see three dimensional images and motion. The system requires only a computer, a projector, and common materials found at most hardware stores. This provides an affordable platform for artists to design compelling content that conveys information, narrative, and aesthetic information in a new way. Lumarca is a collaboration between Albert Hwang and Matt Parker.
The Life Garden
The Life Garden is an anti-cancer medicinal and demonstration garden. Currently on display are our first attempts at growing various plants and herbs indoors that commonly need outdoor space in various different climate zones.
Currently in development are an anti-cancer kitchen survival kit, a hydroponic community-based version of the edible parts of the garden, a series of performative nutritional lectures, and cooking workshops combined Alchemy Fun & Development (AFD) activities.
Dying for the Other is a video triptych addressing a situation of shared suffering involving mice used in breast cancer research, and humans afflicted with the same disease. In order to produce this video, da Costa documented scenes of her own life during the summer of 2011 and combined them with footage taken at a breast cancer research facility in New York City over the same time span.
Dying for the Other, is part of da Costa’s Cost of Life project series, currently being developed at Eyebeam and supported by the Creative Capital Foundation.
Eye To Eyebeam is a series on Eyebeam's residents and fellows. It includes interviews, photos, and other news and is authored by Eyebeam intern Katherine DiPierro. These interactive posts offer visitors the opportunity to learn more about Eyebeam's diverse community of creative practitioners.
Each week, you'll see interviews profiling individual Eyebeamers. Artists who have already engaged in conversation about their projects include:
In the summer of 2011, Eyebeam Fellow Taeyoon Choi organized a tour to South Korean rivers in development with a group of five artists who are also fellows at Eyebeam Art and Technology Center in New York and about ten artists and activists from South Korea. The tour was designed in collaboration with an activist groups “Listen to the city” and lead by environmental activists and local communities, and hosted by Total Museum of Contemporary Art in Seoul. The purpose of the tour was to experience urbanization and river development in first hand and to initiate creative dialogue between international artists and activists to imagine alternative future of our relationship to the cities and natural resources. Through 6 day tour and other events that proceeded over the course of 10 days, the roadshow team learned a great deal about the issue, strategies of participation and the limits of translating cultural context.
Taeyoon Choi is working on documentation in multiple media (Animation and website) that will follow the journey, recreate conversations about issues raised during the tour and personal interests and memories. The document is an artistic research in a sense that the its purpose is not purely political or academic, but artistic in search of creative thought and conversations.
Ruins (Carcinomas) highlights breast cancer’s links to carcinogens in our everyday environment. Depicting fallen urban landscapes over-run with tumors, the pieces are based on breast cancer tumor forms, imaged and “digitally removed” through a special process devised by caraballo-farman, that combines Magnetic Resonance Imaging and rapid prototyping. The grey ‘support material’ used by 3D printers to build up a form is generally meant to be removed. But the artists used Eyebeam’s 3D printer in such a way as to maximize the architectural form of the printer’s support structures and then hacked at the structures to partially reveal the white tumor embedded.
The project was begun at Eyebeam after one of the artists was diagnosed with breast cancer. For most of the 1.3 million women in the world diagnosed every year, the tumor has no image. It’s an invisible malignancy. This prompted caraballo-farman to start their on-going project, Object Breast Cancer, as a way of exploring the tumor’s “image” in various registers.
The project has been supported by fellowships from the Guggenheim Foundation and New York Foundation for the Arts, residencies at Eyebeam Art and Technology Center, the Lower Manhattan Cultural Council and Art Omi, and assistance from Stratasys, Inc and NYU’s Advanced Media Studios. caraballo-farman have exhibited internationally in such venues as the Tate Modern, PS1/Moma and the Yerba Buena Center for The Arts.
Flock House is a group of migratory, public, sculptural habitats that host on underused urban infrastructure as they move with the help of preexisting transportation routes: from barges to flat bed trucks to helicopters, they can easily catch a ride to the next destination while living off and providing for their surroundings.
Commencing in New York City and choreographed throughout urban centers in the United States and three planes of living (subterranean, ground, and sky) the shape and form of Flock House is inspired by current global human migration patterns. Built collaboratively upon reclaimed, redesigned, and rethought materials within a gift culture, Flock House sets out to inspire reinvention of mobile structures in a time when growing urban populations are faced with imminent environmental, political, and economic instability.
Part fantastic and part realistic living, mobile Flock House living systems are both autonomous and dependent on their local community, inhabited by people experimenting with peripatetic existence to reflect our current age framed by global migration, and representing migratory structures as part of an urban ecology.
While migratory birds stock up on energy before journeying, Flock House structures depend on the built environments they land in, as well as the interdependence of human relationships to care for, share amongst, and inspire new ideas. Flock House living systems are bridges for cross-discipline, cross-boundary, and cross-border notions of property and community. Flock House reflects community-interdependence and resourcefulness, learning, curiosity, and creative exploration while fostering flexibility, adaptability, and ingenuity by imagining new notions of perimeter, property, and polity.
Due to a rise in environmental and political risk, dislocation and relocation is an increasing fixture in life and is important to consider and reconcile. The need to move is pervasive.
The FM Ferry Experiment, a project conceived and programmed by neuroTransmitter, will be an eight-day mobile radio project held on the Staten Island Ferry during the fall of 2007. With the collaboration of the New York City Department of Transportation and the FM signal of WSIA-FM, this project will transform the ferry into a floating radio station, continually traveling between Lower Manhattan and Staten Island, and transmitting out to the NYC region.
Through the media of radio and live broadcast performance we are interested in spatially and sonically activating the space in and around the Staten Island Ferry, considering it's architecture, mode of transport, use of public space, and the geographical contours of the ferry's immediate environment as it moves through Upper New York Bay.
Live sound performances, experimental sound works, interviews, and lectures will take place on the ferry and will be transmitted (along with pre-recorded programming) to New York City listeners via WSIA-FM. Each program will run approximately 25 minutes - the time it takes the ferry to complete the commute from shore to shore.