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A small crowd assembles in Eyebeam’s mainspace. Rows of red, metal chairs have been hastily arranged facing an elevated stage upon which perches a pair of welcoming armchairs. Two artists will soon be dialog, Eyebeam fellow Mark Shepard and honorary resident Jordan Crandall. For many years, both artists have been engaged with problems of data and urbanism, an interest that has inflected their respective works at Eyebeam. Mark and Jordan have organized this evening’s dialogue to discuss the following prompt: What constitutes the urban today? Or, perhaps more precisely: how might we think about the constitution of the urban today? It is a conversation that has been incubating for several months in Eyebeam’s Urban Research Group.

 

The time has come: the assembled crowd takes their seats; introductions are made; the speakers settle into their soft, red armchairs. Mark and Jordan adjust the settings on their shared microphone and begin. The influence of complex urban systems on our everyday experiences in modern cities, they note, has become a popular topic of discussion among contemporary architects, technologists, designers, and artists. Yet, despite this profusion of discourse, there has been little clarity on what is meant by the term ‘urban system’. Most formulations, they argue, are premised on an ontology of ‘the overlay.’ Imagine, for a moment, a transparency laid across a map of urban space. In this scenario, mobile information networks are superimposed over a static, preexisting city. It is a model that presupposes a primacy of the built environment—a world where wood, brick, and concrete carry a disproportional ontological weight. Such a framing posits that information cannot fundamentally effect the shape of urban space. While data may tint our experiences of urban environments, it does not substantially constitute those experiences.

 

This model of urban systems poses a problem. It does not allow for the kind of complex human-, non-human-, and information-based interactions that we know constitute today’s urban systems. This is the problem on which the evening’s discussions revolve. Mark taps his phone; a projector flashes on. Beyond the stage, an image appears on the large presentation screen: an ATM machine buried among crates of fresh fruit on a bustling, New York City street. Mark describes his research into the technical and political dynamics of these ubiquitous machines. They serve as a familiar and convenient emblem for urban ontologies more generally. ATM machines take form dynamically in urban locales as a contingent response to financial networks, city zoning regulations, private commercial interests, and the needs of urban consumers. City regulators and bodega owners, for example, have been at a kind of evolutionary arms race, redesigning storefront architecture, ATM technologies, and municipal policy in a struggle to outpace the other’s perceived incursion on urban space. These ubiquitous machines are not overlaid on top of a preexisting environment, they become mutually co-constituting with the milieus they inhabit.

 

The microphone passes hands and the projected image changes. Jordan continues the discussion. We know urban systems are composed of complex interactions, but the components and dynamics of these networks are not always readily apparent. How can we disassemble such unseen networks into objects and interactions that can be made readily visible? Towering behind the presenters is a scene of disruption: traffic is congested on a busy thoroughfare as a maintenance worker descends below the city street to repair a breakdown in the system. Consider this momentary disjunction, the way it reveals the workings of the city. Jordan proposes investigating such moments of failure as opportunities to witness the conditions under which urban systems normally operate. As a system begins to stutter, fumble, and collapse, its previously unnoticed components begin to disassemble, its intricate dance spirals apart. A burst water main is harder to ignore after it has lost its ubiquitous, quiet flow. In order to understand urban systems, we need techniques for visualizing their constituents and the ways those constituents interact. Jordan proposes moments of disruption as a possible window for witnessing such occurrences. Perhaps there are others.

 

The character of these urban ontologies has been that of assemblage, process, and interaction; nothing is bounded, stable, or isolated for very long. It can be hard to think this ontology of becoming. I find the physiology of vision to be instructive when immersing in this assemblage-oriented mindset. Human sight is the accomplishment of a series of multiform, interacting components: our lenses relax or contract to focus light onto our retina, exciting rods and cones that transmit pulses of information to complex neural clusters which parse these signals for configurations of significance. Occasionally, we expand the capacities of these components with supplementary technologies (contact lenses, spectacles, microscopes, telescopes). When we weary of such routines, we are driven to modify the operation of our body’s components: sometimes permanently (laser sculpting the surface of the eye), sometimes transitorily (using psychoactive substances to transform what becomes neurologically parsed as significant phenomenon). Sometimes what we want to see has no apparent form, in those cases we conjure algorithms to render the invisible visible—through visualization techniques, we create objects and images to stand in for what cannot be sensed.

 

As architects, technologists, designers, and artists continue to experiment with the assemblage of urban systems, it is important to consider the ways those systems are made visible, recognizable, sensible, and hackable. A certain kind of politics lies behind the incorporation of these concerns with visibility and interactivity. In fact, I pose a challenge to such urban engineers: how do we democratize participation, engagement, and creation of urban systems? That is, how do we move beyond merely recognizing the complex unfolding of urban systems? How might we begin to more substantially participate in their continued unfolding? 

 

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Opening + Performance June 7, 7PM-8PM

Eyebeam Art & Technology Center, in partnership with Issue Project Room, is pleased to announce L-CARRIER, an installation by sound artist/percussionist Eli Keszler commissioned by New Radio & Performing Arts, Inc. for its site turbulence.org, with funding from the Jerome Foundation and the New York City Department of Cultural Affairs.

From June 7th-23rd L-CARRIER transforms Eyebeamʼs Project Space into a large-scale, mechanical stringed instrument, immersing audiences in rich harmonies and sparse, multi-directional rhythms. A remote website displaying the pieceʼs evolving visual data score supplements this audio environment, and June 7th, 7PM-8PM the piece will serve as accompaniment for a live ensemble performance.


L-CARRIER is run and triggered by an internal feedback loop. A surveillance camera placed along a wall of the installation detects changes in the visual field; that triggers images to change on the remote website. These transformed images trigger new patterns for the automated mechanical component. Meanwhile, the surveillance video, along with audio feed of the installation, becomes part of the websiteʼs visual composition. Together, the audio and visual components of the website display the ʻbrainʼ of the piece in its entirety, on both the front and back end of its activity.


The mechanical installation uses lengths of piano wire, ranging in length from short to very long (up to 50 feet), which wrap around each other as they extend from the wall to the ceiling of the gallery in a complex geometric design. Mechanical beaters strike wooden sounding boards, which work as low-tech amplifiers – projecting percussive tones throughout the space, creating an immersive and contrasting sound that articulates the layout and architecture of the piece and environment while the long strings produce complex harmonic formations around them.


For the opening night, an ensemble will perform a detailed score written by Eli Keszler to accompany the installation. The composition has been written so that fluid, dynamic acoustic sounds push and pull against the installationʼs sonic control.


This ensemble includes: Eli Keszler, Ashley Paul, Anthony Coleman, Alex Waterman, C Spencer Yeh, Catherine Lamb, Geoff Mullen, and Reuben Son.


This event also inaugurates the release of Eli Keszlerʼs double CD Catching Net, a collection of installation and ensemble recordings, released by the Berlin-based PAN – ACT label.


L-Carrier is presented as part of Eyebeamʼs sound series Rec.Play., a curatorial initiative founded by Eyebeam Creative Director Roddy Schrock presenting sound works that use Eyebeamʼs 18,000 square foot space as a starting point for creative inquiry.


Eli Keszler Biography:
Eli Keszler is a composer, artist and multi-instrumentalist based in New York City. He has toured extensively throughout Europe and the US, performing solo and in collaboration with artists such as Phill Niblock, Aki Onda, Tony Conrad, Loren Connors, Jandek, C Spencer Yeh, Ran Blake, and Ashley Paul.

His installations have appeared at the Boston Center for the Arts, Nuit Blanche NYC and the Shreveport New Music Festival. His Oxtirn release was named as a record of the year from Wire Magazine and the Boston Globe. He received a feature/interview on NPR All Songs Considered in 2011. He is a graduate of New England Conservatory where he studied with Ran Blake, Anthony Coleman and John Malia.


Links:


Eli Keszler: http://elikeszler.com/

Eyebeam: http://www.eyebeam.org/

Turbulence: http://turbulence.org/

Issue Project Room: http://www.issueprojectroom.org/

OurGoods.org is an online barter network for creative people. Founded in 2009 by sharing enthusiasts Carl Tashian, Rich Watts, Louise Ma, Jen Abrams, and Caroline Woolard, OurGoods connects artists, designers, craftspeople, and activists to trade skills, spaces, and objects. OurGoods is funded by the Rockefeller Cultural Innovation Fund, has been featured in exhibitions at Creative Time and Exit Art, and received press from Fast Company, the New York Times, and the Wall Street Journal.

We are growing rapidly, and we are looking for two new developers to help us conceptualize and build the expansion of our site. This position is not a typical internship; you will have voting power and co-authorship credit and there is the potential for pay and a permanent position in the future. We are looking for experienced developers who can work independently, as well as newer developers seeking mentorship. If you are enthusiastic about what we do, and have experience as a back-end engineer using Ruby on Rails or as a front-end engineer using HTML/CSS/Javascript/HAML/SASS, we'd love to talk to you about joining our team. 

Please contact info@ourgoods.org with links to your work.

Trade School is a learning platform that connects students to pay teachers with barter items instead of money. Started in New York in 2010, Trade Schools are now opening in Milan, New Delhi, Moscow, London, Cologne, Guadalajara, Paris, Jamaica, Oakland, Cardiff, Singapore, and San Francisco. Our software was built by Or Zubalsky in PHP/JavaScript on a Zend framework, with UX by Rich Watts, and Louise Ma. Now, we want to add another member to our web team! 

Please note that this position is not a typical internship; this is a volunteer-membership position in which you will have voting power and co-authorship credit. At the moment, we are all volunteers, but we hope to secure philanthropic support in the future.

Please contact info@tradeschool.coop with links to your work. Must have experience in PHP/JavaScript or Python/Django.

Internship positions available: 

Eyebeam, the leading art and technology center in the United States, offers several staff internships for college students and recent graduates.  Eyebeam, which is celebrating its 15th anniversary in 2012, is looking for interns for Summer 2012 and beyond in the areas of PR/communications, development/fundraising, program production, and web site development and maintenance.  These positions would be best for anyone who has a sincere interest in the field of art and technology – including digital media, urban and environmental activism, sound research, and alternative realities -- and wants to learn more about Eyebeam’s rich history.

Responsibilities Include: 

PR/Communications:

  • Writing copy for press releases, exhibit descriptions;
  • Cleaning and updating press list, including print and on-line media;
  •  Updating social networks for current events;

Development/Fundraising:

  • Researching possible foundation/corporate/individual funders;
  • Helping to write Letters of Inquiry and proposals;
  • Helping to organize and staff fundraising events, including cultivation events;
  • Helping with Board events.

Program Planning and Execution:

  • Taking minutes at general staff and program meetings and posting them on shared files;
  • Assisting the Program Director with event logistics, coordination with artists, and serving as support during events.

 Web Maintenance and Design:

  • Work with web technologist and staff to rewrite web pages, update current information, and consider possible improvements;
  • Work on Eyebeam's Facebook page and Twitter account;
  • Develop other social media outlets. 

General Administrative Support:

  • Organizing content across multiple spreadsheets;
  • Scheduling of regularly occurring internal events and meetings;
  • General inquiry response via email;
  • General office support. 

 Requirements:

  • Excellent writing, organizational, and research skills are a must;
  • Understanding of social media strategies and experience in their implementation;
  • Basic website management skills;
  • Ability to work in a highly collaborative, hands-on environment;
  • Excellent communication skills. 

Interns must be able to commit a minimum of 2 full days a week at Eyebeam starting no later than June 1 for at least 2.5 months, or a later start date that can continue into the fall. This internship is unpaid, but may be able to offer school credit.  Local transportation will be reimbursed.  Please submit cover letter (highlighting relevant experience and interests) and resume to info@eyebeam.org. 

Eyebeam Fellow Paolo Cirio seeks enthusiastic intern(s) for several upcoming projects. Paolo is a media artist known for his innovative and controversial political artworks. His work deals with various issues related to the emergence of digital media in fields such as copyright, privacy, transparency, finance, advertising, geopolitics, democracy, and fiction.

The intern must be interested in at least one of the following areas:
* The United States 2012 presidential election, as covered on Twitter
* Financial crimes
* Street art, stencil graffiti, and ownership of data
* Post-film and transmedia storytelling

The intern must have at least intermediate ability in at least one of the following areas:
* Graphic design (Photoshop, Illustrator, and more)
* Web design (Flash, Dreamweaver, PHP)
* Coding (Java/Processing, Python, C++, and more)
* Video editing (Final Cut Pro, After Effects)
* Digital HD film-shooting and photography
* Journalistic research (investigation about specific topics or people)
* Creative writing (storytelling and character development)
* Editing, critiquing, and publishing text
* Familiarity with social media, especially Facebook, Twitter, and Flickr

The internship will begin on May 14 and end July 31, although start and end dates are flexible. Please expect to commit 3-5 hours per week at Eyebeam. Interns will be credited for their contributions to Paolo's projects and their work will be shared with the Eyebeam community. Internship open to current college students, recent graduates, and other interested candidates. Stipend and credit are negotiable.

Please send your resume/CV, work samples, and a brief cover expressing interest in any of the topics listed above, to p.cirio@gmail.com.

Work with Eyebeam’s Fellows and Residents to solve interesting problems in animation with a focus on integrating depth, motion-capture, and other kinds of live performance data. We'll begin by exploring creative applications of the Kinect (the first motion capture system sold to a wide audience) and develop strategies for moving data between commercial animation programs like After Effects and Maya.

Responsibilities:
  • Take research assignments.
  • Find solutions by conducting original research and drawing on tutorials, forums, and personal contacts.
  • Summarize findings and publish results.
Required:
  • Current student or 2012 graduate.
  • Interest in procedural graphics programming and its applications in games, films, installations, net art, and more.
  • Intermediate ability in at least one of four popular creative-coding languages: Java (Processing), C++ (openFrameworks), JavaScript, or Python.  
  • Willingness to learn new tools, techniques, and languages in order to solve problems.
  • Good research skills, ability to work independently.
Useful:
  • Knowledge of animation principles and animation production software.
  • Experience with commercial creative-coding environments like Unity, Flash, or Jitter.
  • Familiarity with Github.   
The internship will begin on September 3, 2012. You will need to commit to one five-hour day per week at Eyebeam. All research results will be shared with the Eyebeam community and published as open-source software.  The internship pays $10/hour and can be arranged for school credit.

Please send your resume and an introductory email to nick@eyebeam.org.
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In Stranger Visions artist Heather Dewey-Hagborg creates portrait sculptures from analyses of genetic material collected in public places. Working with the traces strangers unwittingly leave behind, Dewey-Hagborg calls attention to the impulse toward genetic determinism and the potential for a culture of genetic surveillance.