Recent Projects

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Tentacle, from Swedish arts collaborative Beeoff (Olle Huge, Tomas Linell and Mikael Scherdin), is a receptor-sculpture on a network that feeds streamed content (“streaming media”) over the Internet to several stations. During Works in Process ,Tentacle will gathers and transmits sound and images from nodes at Eyebeam and in Stockholm, transmitting them to a central editing computer, creating new content which is rebroadcast simultaneously back to the translucent, sculptural nodes at each location. Tentacle has been exhibted abroad in Paris (Villette Numérique), Stockholm (Splintermind – the artists’ studios) and Helsinki (Kiasma Museum), and for the first time in the United States at Eyebeam.

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Struck is a video and sound installation that begs the question of how do we gain an “understanding” of disease through the visual interpretation of data. The piece addresses the development and implications of visualisation techniques as they are used in the detection and interpretation of neurological disorders. The work continues Barker’s interest in examining the representation of bodily and psychological difference, but now examines the convergence of this with the processes involved in the visualisation of disease itself. Struck is a multi-layered work that will attempt to critically address the effects that being diagnosed with the incurrable degenerate neurological disease Multiple Sclerosis has had on the artist’s life in the past four years. Rather than being a direct emotional response, it is one that will look historically at the disease, its origins, interpretations and specifically, the technologies and imaging processes used to visualise neurological disorders. In part it will critically reflect upon contemporary medical imaging techniques - with particular reference to Magnetic Resonance Imaging (MRI) - and the legacy these processes inherit from the event of their of medicalised and institutional discovery during the late 19th century. The work will remain medical, clinical and ultimately removed from its subject, yet at the same time it will exude a sense of the individual being lost to a medical discourse.

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Inside Out Life Story
Inside Out Life Story (IOLS) is an artwork that combines robotics, art music, theatrical sets, animated toys and artificial intelligence to tell the story of our 2004: the year we got married, a year of endless war, the elections, robots on Mars and of course the year of our first colostomy bag. Inside Out is a story about a sick person and their partner, life in the hospital and the process of shifting back and forth between two disparate worlds. Our miniature robotic self-portraits, along with a cast of bio-inspired mechatronic characters, will attempt to convey, with synchronized narratives, music and animations, the terrifying and hilarious world that appears after visiting hours.

Inside Out Life Story (IOLS) blog.

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10 Cameras is a video documentation of a 10 channel, one hour synchronized video installation. Ten people equipped with dv cameras meet in the woods of Caumsett State Park, Long Island. Each participant, with camera to eye, simultaneously embarks upon the shoot from the center of the forest. The installation shows each view synchronously, as they disband through the forest choosing their own paths for the length of one minidv tape (1 hour). The excursion begins to end as they whistle to find each other at 50:00. Funding assistance was provided by Experimental Television Center's Finishing Funds.

 

 

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Shadow projects a disembodied, autonomous human shadow on the ground. This shadow attempts to merge itself with the viewer's real shadow. When this occurs, the invisible figure, implied by the virtual shadow, inhabits the viewer's personal space. Utillizing real-time, computer-generated graphics and video sensing to produce the interactive illusion, Shadow attempts to merge viewer and artwork, the real and the virtual, into one entity.

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Eric Reiffstecks's After-School Atelier high school class Viewership, Authorship, Ownership was an investigation of ownership in both literal and conceptual terms. Students explored re-appropriation of media entertainment to build a sense of self through media self-portraits, and were made aware of timely and relevant issues of copyright and borrowing media.... in the end, your self-portrait may not be your own.

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"Into the Air's Memory" is a two channel computer animation. It explores the romanticism of transcendence through technological means. The story is set in a desert where every inhabitant searches for an unknown sound that is believed to exist. An elusive acquaintance begins between a sound seeker who listens to the memories of the dead and a woman who wanders aimlessly with an empty wheelchair. Lives come to existence with the unquenchable desire to hear the unheard, to grasp the intangibles, and disintegrate in the end, with only the air as an eternal witness.

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Rosenthal's After-School Atelier middle school course, Acoustic Ecology and Soundscape Recording, exposed participants to a wide range of ideas, techniques and technologies for focusing and sensitizing aural awareness of the world. Listeners consider how enhancing this aural awareness can alter their relationship to the urban environment and what impact human sound-making has on that environment. Rosenthal's students developed self-reflective aural archives using the sounds of their homes, neighborhoods, families and friends.

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Caspar Stracke's video installation consists of a continuous rotating wide screen image that is interweaving two cityscapes, juxtaposing idiosyncratic appearances from four locations while making connections between architecture and sociology of two non-related places. The impossibility to be in two places at the same time is the origin for an investigation on locality. How do objects, buildings people of two local sites relate to each other when uprooted from their context? On several sites, objects from New York, Mexico City, Berlin and Shanghai find their counterpart.

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In Re-Surface: The Facade of the Synthetic, KnoWear posits the concept that Post-Modern identity has turned from identifying with the body as a natural organism to the idea of the body as a synthetic product. Hypercritical to advertising and the media's impact on this idea, The Facade of the Synthetic features moving images in video form called ‘Body Billboards’, small electronic areas of advertisements placed on the skin surface, formed to follow the contours of the human body and inspired by classic tattoos hybridized with every day product brand names and logos. The Facade of the Synthetic utilizes OLED (Organic Light Emitting Diodes) screens, a thin flexible display technology that receives and displays video input, incorporated with an installation of sampled and edited advertising campaigns projected on to the gallery walls, creating an ever-changing kaleidoscope of background images and noise.