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Start Date:  January, 2014

APPLICATION DEADLINE: All applications must be received by 12PM (noon) on September 13, 2013. Applicants will be informed of their application status by late November, 2013.

RESIDENCY SUMMARY: The 5-month residency will begin in mid January (negotiable start date) of 2014 and run through June of 2014, the first half of the time will be spent at The White Building, London and the second half at Eyebeam, New York. The resident will receive a stipend (London: £2,000, New York: $5,000) to be paid out over the course of the residency in connection with the achievement of specific milestones. In addition, travel between London and New York will be covered, and housing will be provided in London. The resident will not receive automatic housing in New York but will receive assistance in locating temporary housing.

OVERVIEW: The SPACE-run art centre, The White Building and Eyebeam are seeking applications from artists, engineers, designers, and creative technologists interested in being the inaugural resident in our joint residency program. The purpose of The White Building/Eyebeam Artist Residency is to support creation of new work that addresses the Focus Areas of this residency call. The new work, and the process of its creation, will be presented both at Eyebeam and The White Building, with opportunities for public presentation and discussion at both organizations.

RESIDENCY FOCUS AREAS: The resident is expected to respond to at least one of the following inquiries in their project:

1.What is the role of authenticity in the current creative situation? Digital technologies are built to reproduce themselves in perfect copies -- this is antithetical to notions of single authorship. What is authentic; can there be a single author anymore?

2. What is the place of discussion around aesthetic beauty and form in contemporary technological art? Particularly, how do the formal aspects of work on the internet affect how we ‘appreciate’ and understand art? How are platforms such S[edition] and art.sy re-configuring what is digital and physical practice? Moreover, what do we say to skeptics who argue that native art produced on the internet, does not boast the same social, aesthetic, or political value as traditional forms?

3. What is the relationship of queerness to the internet? Are there implied queer trajectories in what the internet enables?

4. How is storytelling evolving across cinema and ebooks, digital novels, hyperlinked narratives etc? Or is it evolving?

5. What does it mean to collaborate across geographies? What does it mean to be close to people?

PARTICIPATION: There is a single residency available under this program, though it may be shared by more than one person. The resident should be prepared to document, in both London and New York, the learning and development process for the project. This documentation, which may take any number of forms, will further engage the public by increasing understanding of the project itself. This documentation may include public-facing reports and updates designed to engage the public with the project and shed light on the artist's creative and educational process.

The resident is also encouraged to participate in both formal and informal learning opportunities within the The White Building and Eyebeam community.

DETAILS: The selected resident will be expected to start the residency at The White Building's London facilities in January, remaining in regular contact with Eyebeam. In London, the artist will be expected to spend at least 3 days a week developing their project at The White Building residency studio, where they will contribute actively to the culture of The White Building and its public program. After the first two months, the resident will be given working space at Eyebeam's Chelsea, New York City space and have 24/7 access to Eyebeam's facilities and equipment. The resident will also be expected to play an active role in the Eyebeam community by taking part in Eyebeam's weekly residents & fellows meetings, monthly Stop Work critique sessions, and annual Exhibition of artists' work.

In New York, the resident will bring their experience and expertise to Eyebeam where they will finalize the creation of the project(s). Residents are expected to contribute to the Eyebeam community as collaborative partners to other residents and fellows. Eyebeam may offer program support in developing work for public or educational programming within its space during the term of the residency.

ABOUT EYEBEAM: A belief in progress and openness are core values of Eyebeam. This has been demonstrated through 16 years of experimentation via the creative use and misuse of technology with the goal to innovate and develop better relationships between people and tools. Eyebeam believes that all creative work begins with a commitment to sustainability, equality, diversity, and concern for a better future. Across all research initiatives and focus areas, Eyebeam primarily supports projects that have real-world impact -- Eyebeam maintains that cultural progress is possible and encourages work that is paradigm shifting within a large spectrum of genres.

ABOUT THE WHITE BUILDING: The White Building is London’s new centre for art, technology and sustainability. An incubator for big ideas and innovation, it serves as a creative lab for artists whose work engages with technology. Run by SPACE, The White Building’s aim is to act as an international beacon for the creative industries in Hackney Wick, as well as a resource and venue for residential and educational communities in the area. The centre is anchored by a residency program that is unique among UK public institutions, offering opportunities for emerging and mid-career artists to produce new work on an international platform. The centre comprises a residency studio, which doubles up as a temporary exhibition space, a flexible event space, studios for creative practitioners.

APPLICATION REQUIREMENTS: Applicants are only accepted via the online application system at http://apply.eyebeam.org. Applications received after the deadline of 12:00 (EST) PM (noon), September 13, 2013, will not be accepted. All applications and work samples must be submitted through the online form. No exceptions will be made.

Applications must not be currently enrolled in degree-granting academic programs. Individuals and collaborative teams are invited to apply. In either case, please detail in your application how technical and creative responsibilities will be met. If applying as a collaborative team, please include information about team members' relevant prior experience and combine CVs into a single document before uploading.

Please read the guidelines carefully, should you still wish to make an enquiry before making an application, then please contact Roddy Schrock, Director of Programs and Residencies, Eyebeam, New York at roddy@eyebeam.org

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Eyebeam Awarded $10,000 Grant to Enhance Learning Online

Eyebeam’s Digital Day Camp Won Grant as Part of Larger Effort to Build a Learning Approach for Our Times

Washington, D.C., July 10, 2013 – Eyebeam recently was awarded a $10,000 grant to support its Digital Day Camp program for youth this summer after entering a national competition supported by the John D. and Catherine T. MacArthur Foundation, administered by Humanities, Arts, Science, and Technology Alliance and Collaboratory (HASTAC), and carried out in collaboration with Facebook, the Family Online Safety Institute (FOSI), and Mozilla.

The Project:Connect Summer Youth Programming Competition was part of the 5th annual Digital Media and Learning Competition that is encouraging the development of apps, badges, curricula, and other tools to maximize learning through making the online experience for young people more civil, safe, and empowering. 

Competing for grants of up to $10,000 each to support single or multi-day summer programs, the 266 applicants from 41 states plus Washington, D.C., included libraries, community organizations, advocacy groups, museums, non-profits, cultural organizations, youth-serving institutions, and arts organizations.

“The competition this year is designed to engage young people in solving a real-world challenge – making the Internet a safer and more powerful place to advance learning," said Connie Yowell, Director of Education at the MacArthur Foundation. "The ability to meet that challenge will help determine whether education will be more relevant to both young people and the economy where they will be eventually looking for work.”

Proposals were evaluated for their potential to:

  • Actively contribute to the goal of a more equitable, social, safe, and participatory web for all, through the development or testing of new digital tools and learning programs;
  • Bridge social and cultural differences by providing youth with opportunities to learn from and with one another in supportive ways;
  • Provide participatory and hands-on making and learning experiences based on the principles of Connected Learning, an educational approach designed to help prepare young people for a world that is highly networked, technology-enabled, and producing new knowledge at a pace not known to previous generations; and
  • Support online programs and applications that enable privacy and diverse and respectful lifestyles and opinions.

Hailing from metropolitan areas, a small town, and a rural location, the winning programs are those that most effectively encourage civic engagement and community-building; promote civility, equity and safety online; embody Connected Learning principles of interest-powered, peer supported and academically oriented learning; and have a strong plan to ensure participation and project success.

From July through September, these organizations will be hosting local hands-on events where young people collaborate and compete to build a better web through activities such as hackathons, digital learning labs, maker spaces, badge development workshops, digital journalism and mentoring workshops. All the events are part of the Summer of Making and Connecting, in which dozens of organizations are engaging young people, parents, teachers and others in creating learning opportunities designed for our times.

The Project:Connect Summer Youth Programming Competition and all Digital Media and Learning Competitions are administered by HASTAC through grants from the MacArthur Foundation to the University of California, Irvine.

Since 2004, MacArthur has invested more than $100 million in research, design, and practice to better understand how digital media are changing the way young people learn, play, socialize, and participate in civic life, and what that means for learning and the institutions that support it. More information is at www.macfound.org/education.

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Earbeam at Eyebeam!  2 Seatings

Jacob Kirkegaard presents Labyrinthitis-- a sound piece of tones generated by the ears, for the ears, and, ultimately, from the listeners' own ears. 

Friday August 16, 7-8pm (SOLD OUT!) -- Doors:6:30PM

Friday August 16, 9:30-10:30PM (SOLD OUT!) -- Doors:9PM

Join us for a one-night performance of Labyrinthitis-- the immersive, sonic symphony of inner ear sounds, created by Danish artist Jacob Kirkegaard.

Labyrinthitis is an interactive sound piece that consists entirely of tones generated within the artist's inner ear, which in turn spark audible emissions within the audience's own ears. Taking place inside a floating cube within Eyebeam's main gallery, this limited engagement performance is a unique sensorial experience, blending sound with science.

Astoundingly-- our ears not only hear sounds, but create them as well. Inspired by a medical technique meant to test for deafness in newborns, Kirkegaard's performance utilizes tones recorded from his own ears, which when listened to, will generate specific tones within the listener. Kirkegaard's ear tones-- played at a specific frequency and ratio-- will cause physiological changes within the audience, thereby generating a third tone-- an "otoacoustic emission," also referred to in musicology as a "Tartini tone." Taken as a whole, the composition is an immersive and metamorphic experience, engaging little-known and seldom witnessed sensorial and physiological properties within the listener. 

Eyebeam is thrilled to have Jacob Kirkegaard in attendance throughout the performance, as he will explain his process and the scientific properties behind the piece. Labyrinthitis is being presented in conjunction with Soundings: A Contemporary Score at the Museum of Modern Art, in which Kirkegaard has a sound piece based on the resonances of abandoned buildings in Chernobyl. 

Learn more at http://fonik.dk.

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"Dark Side of the Prism" is a Firefox Add-on that provides a soundtrack for our surveilled internet meanderings.

The public recently learned that the US National Security Agency's on-going internet surveillance program, Prism, collects data from users of major websites. Many of us already know that any data we might share-- not just Facebook posts, but our search and click pathways and histories-- could be compromised, but we do so anyway. We have normalized this ubiquitous surveillance.

"Dark Side of the Prism" uses Pink Floyd's aural prism (Dark Side of the Moon) as a playlist to the NSA's tracking efforts, serving as an auditory reminder of how our online activities are surveilled. What hypochondriac questions do you Google in the middle of the night; who do you cyberstalk? Consider those missives the lyrical component to our soundtrack. 

 

 

Eyebeam is pleased to announce the appointment of Zoë Salditch as Communications Director, beginning August 2013. Zoë will be joining us from Rhizome, a nonprofit organization affiliated with the New Museum that is dedicated to emerging artistic practices that engage technology. As Rhizome’s Program Director, Zoë oversaw and produced key programs and events, including the Commissions Program, The Download, and the annual Seven on Seven Conference. We welcome her onboard, as an experienced and knowledgeable member of the media arts community, and we look forward to her contributions to Eyebeam’s growing presence within the international fields of art and technology.

 

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Rui Hu is a B.F.A. candidate in New York University’s Tisch School of the Arts, where he studies animation, film, photography, and computer science. Recently he experiments with paper and code to create animation. At Eyebeam, he works for Computational Fashion Fellow Carrie Mae Rose to model 3D wearable sculptures in Maya.

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The Very First Year 
July 27, noon-10pm 

Join us for a full-day event exploring aspects of gender, feminism, technology and art in consideration of the fact that since Eyebeam's founding 16 years ago, 2013 marks the very first year that its roster of Fellows and Residents includes more women than men.

Featuring afternoon installations and activities by Feminist Economics Department (the FED), Miki Foster, Jen Kennedy + Liz Linden, Queer Technologies, Cassie Thornton, and Caroline Woolard, and an evening potluck dinner with presentations of current work by numerous female Eyebeam Alumnae.

Organized by current Fellow Laurel Ptak and inspired by her ongoing research at Eyebeam into cyberfeminist art practices since the 1990s.

The full schedule includes:

12pm: installations on view, coffee served, newspapers for reading
Installations on view all day will include: a Cyberfeminst Reading Room; a selection of Queer Technologies’ products including ENgenderingGenderChangers, a “solution” to Gender Adapters’ male/female binary and more; artist-made furniture designed at Eyebeam by Caroline Woolard; video presentations by Eyebeam Alumnae on their current projects and responses to The Very First Year.

1-2:30pm: New York Times Feminist Reading Group
A reading group dedicated to Saturday, July 27th’s edition of The New York Times from a feminist perspective. Participants are welcome to join regardless of whether they have read, skimmed, or even just glanced at that day's paper. The discussion begins informally with whatever news item or question participants first raise, and ranges widely from investigations of specific articles or images, to editorial choices and ad placements, to the larger questions of the business of newspapers, the migration of news into digital formats, and the future of media in general. Hosted by Liz Linden and Jen Kennedy. Questions? Email contact@contemporaryfeminism.com

3-4:30pm: Feminist Reproduction 3D Printing Workshop 
A workshop on the fundamentals of how to use the MakerBot Replicator 2 Desktop 3D Printer, focused on its feminist potential. Miki Foster will teach the basics of 3D printing while the Feminist Economics Department (the FED) leads the production of an object with extremely high, yet completely non-monetary value. Attendees will learn about and participate in 3D printing as well as help produce the first 3D prototype of a feminist financial instrument and a new logic of value.

5pm: drinks and appetizers served, personalized 3D printing tutorials 
Try your own hand at 3D printing on the MakerBot, Miki Foster will guide you through the process of printing files specially-developed by the Feminist Economics Department (the FED). You’ll be able to keep what you print and tutorials will run throughout the evening—until the filament runs dry. 

6-10pm: Potluck Dinner featuring presentations of current work by Eyebeam Alumnae 
Join numerous current and past female Eyebeam fellows, residents and honorary fellows who will present their current work over an informal and lively potluck dinner. Appetizers and drinks are provided by Eyebeam and participants and audience are encouraged to bring a dish or desert to share with all.

Upcoming The Very First Year events at Eyebeam will also take place on: Thursday August 15; Sunday October 20; Saturday November 9; Saturday February 1. All are free and open to the public. Full details will continue to be announced at: http://www.eyebeam.org/events/the-very-first-year

About the participants:

Eyebeam Alumnae have made and done many amazing things, at Eyebeam and beyond. Learn more about them at www.eyebeam.org/people

Feminist Economics Department (the FED) began in 2011 by hiring an actress to play a fictional MFA student who performed breakdowns about the value of her debt at California College of the Arts. Collective projects include the BEAUTY SALON, hosted by Ictus Gallery, San Francisco, offering services by artists that heal economic wounds; and the Poets’ Security Force presented at the Yerba Buena Center for the Arts and California College of the Arts in 2012 and the Elizabeth Foundations for the Arts in 2013. The FED was developed by artist Cassie Thornton out of a desire for a collectivity based on her interest in the debt industry which promotes individual liability and denies trust and interdependence. Cassie graduated from the CCA Social Practice Program in 2012 and currently lives and works between San Francisco and NYC. www.cassiethornton.com

Miki Foster is a digital artist, filmmaker and educator. She has worked as a new media, video production and social justice educator for the past ten years. Her current artwork weaves audio and video narratives through craftwork and new/old networks of public display. She completed her MFA in Digital Art/New Media at the University of California Santa Cruz in 2009 and holds a Bachelors Degree from the Evergreen State College. www.mikifaux.com

Jen Kennedy is a Montreal-based writer and artist. Her work has been published in journals including Grey Room, C Magazine, Image and Narrative, Fuse, and The Journal of Critical Studies in Business and Society, and a number of exhibition catalogues. Kennedy attended the Whitney Independent Study Program (ISP) from 2008–9. Liz Linden also attended the Whitney ISP from 2008–9.  She received her B.A. from Yale University.  Her work has been exhibited in various public and private institutions in New York including Ludlow 38, Bureau, and Art in General, as well as internationally in institutions including the Lunds Konsthall (Sweden) and the Stenersenmuseet (Norway). Kennedy and Linden have been collaborating since 2009. Their work has been been supported by the Department of Cultural Affairs/the Brooklyn Arts Council Community Regrant Program and a Puffin Foundation Artist’s grant. Their work has been exhibited and performed at The Whitney Museum for American Art, New Museum, The Brooklyn Museum’s Sackler Center for Feminist Art, The Center for Book Arts, ICI, and a number of other venues. www.contemporaryfeminism.com

Laurel Ptak is a curator whose work investigates social and political dimensions of technology and contemporary art. She is currently researching the history of cyberfeminist art practices since the early 1990s and is organizer of The Very First Year. www.laurelptak.com

Queer Technologies is an organization that produces critical applications, tools, and situations for queer technological agency, interventions, and sociality. By re-imaging a technology designed for queer use, Queer Technologies critiques the heteronormative, capitalist, militarized underpinnings of technological architectures, design, and functionality. QT products are shop-dropped in various consumer electronics stores, such as Best Buy, Radio Shack, and Target. QT items are produced as product, artwork, and political tool and materialized through an industrial manufacturing process so that they may be disseminated widely. www.queertechnologies.info

Caroline Woolard is an artist and organizer based in Brooklyn, New York. Making sculptures, furniture, and events, Woolard co-creates spaces for critical exchange, forgotten histories, and plausible futures. Woolard is a co-founder of OurGoods.org and Trade School, two barter economies for cultural producers. By 2018, Woolard hopes to establish a community land trust in New York City with community organizers, computer engineers, and artists who are dedicated to lifelong commoning. www.carolinewoolard.com

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Since Eyebeam’s founding 16 years ago, 2013 marks the very first year that its roster of Fellows and Residents includes more women than men. The Very First Year is a series of public events and installations in consideration of this fact, organized by 2013 fellow Laurel Ptak and inspired by her ongoing research at Eyebeam into cyberfeminist art practices since the 1990s.

 The Very First Year will explore contemporary aspects of gender, feminism, technology and art from numerous angles. A range of activities and installations will take place at Eyebeam, including public events on:

Inaugural event featuring afternoon installations and activities by Feminist Economics Department, Miki Foster, Jen Kennedy + Liz Linden, Queer Technologies and Caroline Woolard.

AND evening potluck dinner and presentations of current work by female Eyebeam Alumnae including Kaho Abe, Stefani Bardin, Carrie Dashow, Claudia Hart, CHiKA Iijima, Norene Leddy, Maria Michails, Carrie Mae RoseStephanie Rothenberg, Marie Sester, Katie Torn, Carmen Trudell, Katayoun Vaziri and Caroline Woolard.

Full schedule and participant bios are here. Photos here.

         The New York Times Feminist Reading Group

A reading group dedicated to reading that day's The New York Times from a feminist perspective, hosted by Jen Kennedy and Liz Linden.

Art + Feminism Wikipedia Edit-A-Thon

Attending to Wikipidia's notorious gender gap with an all day communal updating of entries on subjects related to contemporary art and feminism. With 30 satellite edit-a-thons also happening across the U.S. and internationally.

Organized by Siân Evans/Art Libraries Society of North America's Women and Art Special Interest Group, Jacqueline Mabey/The office of failed projects, former Eyebeam Fellow Michael Mandiberg and current Eyebeam Fellow Laurel Ptak.

Full detials are here. Photos are here. Some press is here , here and here.