34 35th St., Unit 26, Brooklyn, NY, 11232
This event takes place in Rhizome DC, in Washington, DC, not in Eyebeam.
The Iyapo Repository Project is concerned with addressing the relative lack of representation of Africa and people of African descent in contemporary projections of the future. This 90 minute workshop is the first in a series that will contribute to the creation of the Iyapo Repository.
Iyapo Repository is a future resource library that will house a collection of digital and physical artifacts created to affirm and project the African diaspora. It offers opportunities for African descendants to generate and build technological cultural artifacts of their future. The project is situated between physical and digital spaces, between the present and the future. It asks us to reimagine notions of race, identity & culture through technological artifacts as they travel through time & space.
In this 90 minute workshop, artists and current Eyebeam Residents Ayodamola Okunseinde and Salome Asega will ask participants to create designs for future technological artifacts. The sketches and drawings developed in these workshops will be featured in the Iyapo Repository. A select few of the designs will be constructed and exhibited and a 5 minute sci-fi film incorporating the artifact will be made. The films serve as means of situating the object in context of the time, space, & culture of the future Africans that use the artifacts.
Ayodamola Tanimowo Okunseinde is an artist and interactive designer living and
working in New York. He studied Visual Arts and Philosophy at Rutgers the State
University of New Jersey where he earned his B.A. His works range from painting and
speculative design to physically interactive works and explorations of Afrofuturism.
Okunseinde was the co-founder and creative director of Dissident Display Studios, an
award winning multimedia studio and art gallery based in Washington DC. As a staple
of the Washington DC arts community, Okunseinde made influential contributions to
projects and organizations such as The Washington Projects for the Arts, Pink Line
Project, and Banished Productions. As a collaborator with, amongst others,
choreographer Maida Withers, Carmen Wong, and Yoko K., Okunseinde created
several interactive performance based works and has performed in several countries
including Mexico, Finland, and Croatia. Okunseinde holds an MFA in Design and
Technology from The New School, Parsons School of Design in New York where he is
currently an adjunct faculty member.
Ayodamola joins Eyebeam working in collaboration with Salome Asega.
MVR is an event series focused on new forms of exchange between body and technology. With the decreasing size and cost of computer vision, digital components and advances in virtual reality, we are faced with a new awarenesses of the impact of current digital practices on the physical body. MVR provides a platform for learning and discussion concerning the new interaction between body and information, device, and action. Projects including Assistive Technology, Games, Performance, Wearables.
- Ken Perlin
- Luke Stark
- Syed Salahuddin
- Amelia Winger
- Billy Dang
MVR 1 is the first in a series of events that will link together a network of alternative technology spaces within New York City, and has been developed by Eyebeam Research Resident Nancy Nowacek and PioneerWorks Co-Director of Education David Sheinkopf.
Everyone says SF isn’t what it was. Everyone says the past five years have changed the city tremendously. Saito sees the city floating above the earth— above the attacks in Paris, above the refugee crisis in Europe, yet also somehow acutely responsive (evasive?). Nonetheless, the city cannot escape its own internal crisis: housing crisis (identity crisis?). Middle income families can’t afford it. Long-term residents are leaving. The homeless are being pushed onto Market St., onto the doorstep of some of the world’s largest tech companies, who are content to surveil and monitor, but not intervene.
Someone on the street said SF is the technological petri dish of the world, that the concomitant economic changes will spread across the globe. More routine tasks, both physical and cognitive, will be automated, shifting power from labor to capital. Markets will continue to be digitized and networked, creating massive opportunities for economic super-stars, but fewer opportunities for everyone else. All of this economic change has the effect of centralizing wealth and power; it’s the best time to be a person with the right skills and the worst time to be a worker without technical expertise.
Our political institutions are incapable of keeping pace. Does that mean that the responsibility for those who aren’t able to meet their own needs falls on entrepreneurs? How often do they bemoan the inefficiency of government while simultaneously deferring to those institutions, ignoring the economic, social and political ramifications of their inventions? Do the entrepreneurs ever mention “anegative income tax, pigovian tax, value added taxes (VAT), universal basic income(UBI) or national mutual fund distributing the ownership of capital widely and perhaps inalienably, providing a dividend stream to all citizens and ensuring the capital returns do not become highly concentrated?” (quoted from The Second Machine Age)
Today’s networked city exacerbates inequality. Its geo-data and social-data facilitate both convenience and control. Technology companies model their customers and derive their location based on previous purchases, ushering them towards future purchases. Technology companies track customers through the street as relentlessly as they track them online. As companies continue promote a trade of one’s rights for one’s convenience, they produce more economic power and more political leverage, dangerously widening economic inequality and further reshaping the city to suit their preferences.
What kind of city is San Francisco creating with technology? Is it going to be a city in which the benefits of technological advancement reach everyone, or only a few people? Is it going to be a city where people have the freedom of privacy, or a city where they are intensively surveilled and controlled? Could San Francisco be the first city to implement some form of basic income (or related scheme)? Could it be the first city to explicitly adopt a Data Bill of Rights? It has the wealth and the expertise. We lead in technological innovation, why aren’t we also leading in social and political innovation simultaneously?
In all of this, Saito’s small part is probing the stream. Saito is gathering geo-located social media data from the area around Market St., but instead of using it to build models for marketing, Saito is remixing it into poems about economic damage and projecting those poems back onto the walls of the street. Saito is distributing a toolfor citizen counter-surveillance, while simultaneously holding crypto-street parties where techniques for anti-surveillance are freely disseminated (inspired by Daniel Bustillio and Tim Schwartz). Saito doesn’t reject technology or technology corporations, but Saito is a social futurist, who believes the benefits of the network should be shared by all.
Saito is an Eyebeam + BuzzFeed Fellow the Open Lab for Journalism, Technology, and the Arts in San Francisco. Read more about the Open Lab.
David Xu Borgonjon focuses on developing strategies and implementing logistics for visibility at Eyebeam as Communications Manager. He is passionate about finding and using formalisms that appear in both aesthetic and organizational contexts. His projects include "Face to Interface", an on/offline project on digital intimacies for SCREEN, a bilingual Chinese/English media art platform which he co-founded, and "Really, Socialism?!", an exhibition focusing on socialist history as speculative art. His writing appears in Randian, Yishu Journal, The Art of Collection Magazine, and Golden Age: Perspectives on Abstract Painting Today. He has forthcoming writing in the Journal of Asian Diasporic Visual Cultures and the Americas as well as The Journal for Chinese Contemporary Art. A the New Museum Seminars, and was previously Curatorial Fellow at Wave Hill and Create Change Fellow at the Laundromat Project. His curatorial projects have been covered in Art in America and Yishu Journal, among other publications. He is on the board of Momenta Art, where he serves on the Curatorial Committee. He received a Dual B.A.-B.F.A. from Brown University and the Rhode Island School of Design, where he was trained as a literary critic and painter, much good it does him.