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APPLICATION DEADLINE: November 21, 2014 at 12PM (noon). Applicants will be informed of their application status by February 3, 2015.  

In light of tectonic shifts in the overlap between art, culture and technology in recent years, Eyebeam is throwing open its Residency program to a single invocation - Techne! 

Techne, for the Greeks, was inclusive of the arts as well as craftsmanship and engineering. Now, the chasm between art and technology is narrowing, with boundaries between arts, craft, and aesthetics blending in exciting new ways, largely due to high-tech/low-cost computation. For seventeen years, Eyebeam has been at the forefront of bringing these worlds together and with this residency Eyebeam again looks to support practitioners who agree that the most interesting and visionary work need not be hemmed in by genre or medium but can flourish through technological savvy. 

We are asking you — artists, digital creators, engineers, creative technologists, researchers and cultural producers — to join us in creating provocative work that helps realign the arts to the mechanic. As devices become further extensions of the body, in a time when advertisements are tailored to hyper-specific, localized desires and privacy is nearly a luxury product, artistic practice is more important than ever in influencing the cultural trajectory. This residency cycle Eyebeam is looking to support new work that is deeply examining artistic creation in relation to emergent technology in various forms, and will consider all proposals, especially those that are provocative and have positive real-world impact. 

Eyebeam will grant up to $5,000 to each selected residency project, either to a single individual or a collaboration of two or more artists. The incoming number of residents will be determined by the quality of applications and available funding. 

Residents will be selected to join continuing residents and fellows for an upcoming 5-month cycle, ideally beginning in mid-March, 2015 but potentially later. If a different start date is preferable, please indicate that on your application inside the "additional information" section. 

EYEBEAM VALUES: Eyebeam’s core values include a critical questioning of the status quo and a belief in risk-taking as an essential element to achieve progress. This has been demonstrated through seventeen years of experimentation via creative use and misuse of technology. This approach has resulted in the development of creative platforms, tools and exciting works of art. 

SUPPORT: The 5-month residency is a period of concentrated work on a visionary, experimental project. It is a chance to use the time, space, community, and tools at Eyebeam to reach the next stage of one’s practice.

Eyebeam will work closely with the artists and technologists to see their projects realized, including acting as a facilitator to coordinate organizational partnerships.

NOTE: International applicants are welcome to apply, although Eyebeam unfortunately does not have the resources to provide travel or accommodation. Eyebeam is happy to work with selected applicants, where required, to help them to secure funds to cover these expenses. International Residents are responsible for securing their own visas for the residency period. Eyebeam is happy to provide necessary paperwork to help expedite the process.


APPLICATION REQUIREMENTS: Applications are only accepted via the online application system (link). Applications received after the deadline of 12:00 (EST) PM (noon), November 21, 2014 EST will not be accepted. All applications and work samples must be submitted through the online form. No exceptions will be made. You can create a user/password during the application process and log back into the server to update your application before the final deadline.

All Residents will be selected from this open call, based on the quality of the work being proposed, the applicability of Eyebeam's tools and resources in realizing and supporting the work, and the proposed project’s relation to the overarching research themes and activities of the organization. Collaborative applications are accepted. 

Complete applications must include the following information:

 • Contact Information (Collaborative teams must clearly state how technical and creative responsibilities will be met in the team).

 • Resume or CV (.rtf, .pdf, .doc) -- combined into a single document if applying as a collaborative.

 • Work samples in the form of URLs. Include a project description with your work sample that explains your contribution to the piece, how it is meant to be viewed and how it relates to your proposed project(s)/research.

 • Concise responses to all application questions. Incomplete applications will not be considered.

 • Single PDF document containing any visuals (including timeline with milestones, and additional information such as data flow, sketches, schematics) that will help reviewers understand the proposal.

For further info., please read our Residency FAQ


Eyebeam is a nonprofit exhibition space, artist colony, and R&D lab that supports dynamic and risk-taking work at the intersection of art and technology. For seventeen years, Eyebeam has been dedicated to exposing audiences to experimental and interdisciplinary work, providing an environment for dialogue, collaboration, and discovery.



Planning, creating and managing digital archives, catalogs, and collections is a growing concern as organizations seek to manage files and records, metadata-gather, and enable complex searches of their cultural production, ephemera, archives and/or born-digital assets.

This two-part workshop teaches popular open-source digital archiving and collections management packages. Learn to select, install and perform basic configuration on Omeka, used primarily in academic and digital humanities projects; and CollectiveAccess, used primarily in GLAM [Galleries, Libraries, Archives, Museums] projects.

The first half of the workshop will teach you what to expect and consider in a planning a cataloging software project; orient you to use cases and a general review of how digital cataloging softwares are implemented, and includes an overview of features, metadata schemas, and problems to look out for.

The second half dives deeper into a hands-on comparison of two specific programs, and participants will have an opportunity to build [and break!] from either their own servers or a temporary web interface and command-line access Openflows provides. We want to help you build what’s most useful to you! FYI we can’t provide server support in the workshop.

Register Here!


Hadassah Damien is a technologist, catalog software developer, and digital communications specialist at Openflows. As a community organizer who also implements technology to help activists succeed, and a multimedia artist who also builds digital archives, her work intersects functionality with agility, practicality, and the democratic politics of open-source cultures. She has collaborated on digital collection sites for John Jay library, The Interference Archive, and more. She holds an MA in American Studies, and a Certificate in Interactive Technology and Pedagogy from the CUNY Graduate Center.

Openflows Community Technology Lab is a NYC-based worker cooperative committed to bringing collaborative and cutting edge open source software [FLOSS] solutions to non-profit organizations, NGOs, libraries, progressive community organizations, and more. Since 2003 we have specialized in planning, configuration, and customization of FLOSS for large and small organizations worldwide.


Part A -- 6:30-8:00: Theory, digital catalog/archive project overview

Break -- 8:00-8:30

Part B -- 8:30-10:30: Hands-on learning, technical interfacing, back-end


The first half of the workshop is geared to participants of all technical backgrounds.

The second half is geared to those comfortable with some web-building. If you are okay using WordPress, you'll be okay at this section.

Please bring a computer or be comfortable using a station at Eyebeam, as we will be learning by making.

If you bring your own machine, ensure you have:
-- a command-line tool if you plan to try a CLI install OR an FTP client [try Cyberduck if you don’t have one] if you don’t want to use the command line
-- an HTML editor [try TextWrangler if you don't have one],
-- and a few images to load into the systems to test it out.

You may also proceed in the class by loading the software onto your own server. In this case, you’ll need to come with the following additional preparations:
-- your login and password to the server
-- two databases created, and the usernames and passwords for those


Software List: http://www.femmetech.org/2014/10/digital-archiving-software-1/

CollectiveAccess: http://www.collectiveaccess.org/about/roadmap

Omeka: http://omeka.org/

Register Here!

The Queer  Art and Technologies (QUAT) research group is a collective of artists,  curators, writers, and academics who are interested in exploring the intersection of art and technology while questioning technology's heteronormativity and gender bias through monthly discussions, talks, lectures, and public exhibitions.

Arjun Srivatsa is Eyebeam's first ever Best Boy!!!! Some of his previous projects include Net Artist Daily, the American Medium Sound Series and the Solo Jazz Cup meme. He currently lives under blankets. ¯\_(ツ)_/¯



This discussion will consider topics related to what MIT professor Rosalind Picard calls “affective computing,” emotion recognition in artificial intelligence and the use of technology to simulate empathy or respond to mood. Sensors in automobiles might respond to a stressed out driver with softer light or upbeat music. Commercial surveillance applications increasingly measure facial movements to profile the reactions of customers. Meanwhile data is collected on social networks for engineering relationships. A team of social media researchers recently proposed an “early breakup warning system” for Twitter that is possible with just public availably data. Affective computing is automating the largely undervalued and often gendered work known as “emotional labor.” A nanny, waitress, community manager, journalist, administrator assistant, or counselor is subject to the fallacious conflation of “doing what she loves” and labor, and therefore often underpaid for her services. Attempts to automate care work could reveal the complexity and difficulty of professions that demand social intelligence, expressive emotion, and creativity. 

Panelists: Sarah Jaffe, Lauren McCarthy and Sabrina Majeed

Doors: 7:00PM

Panel begins: 7:30PM

Archived here: https://soundcloud.com/eyebeamnyc/emotional-labor-and-affective-computing



Join F.A.T. Lab for the PAINT figure drawing class during Open House New York (OHNY).  We will draw live models on computers with mouse in classic paint!  No antialiasing! No layers! Limited undos! Come and show off your mouse drawing skills in good old desktop drawing style. Bring your own laptop and very important bring a MOUSE!! No touch allowed!! Make sure you have
paintxp or paintbrush installed on your book.

Requirements & Rules:

- bring a laptop (limited desktop computers available onsite)
- bring a mouse
- install paint (classic paint for win7, OSX, linux)
- no layers
- 3 undos
- 48 colors max
- no gradients
- no antialiasing
- mouse only, no touch!
- save as BMP!!

Put away you tablet and show off some true mouse skills at the 'PAINT figure drawing class'!



Members of the Queer Art and Technology Research Group based at Eyebeam, Miki Foster, Erica Kermani, and CultureHub’s S.O. O’Brien, invite artists and enthusiasts to participate in an open lab centered on Arduino and physical computing. Focusing on an in-process design for an upcoming interactive installation, QUAT members explore the use of micro-controllers in combination with large surface transducers and bone conductors. If you are working on your own Arduino or physical computing projects and want the opportunity to work in a more collaborative session or just want to get feedback on your project, come join us in the studio for these open work and skill sharing sessions.



Members of the Queer Art and Technology Research Group based at Eyebeam, Miki Foster, Erica Kermani, and CultureHub’s S.O. O’Brien, invite artists and enthusiasts to participate in an open lab centered on Arduino and physical computing. Focusing on an in-process design for an upcoming interactive installation, QUAT members explore the use of micro-controllers in combination with large surface transducers and bone conductors. If you are working on your own Arduino or physical computing projects and want the opportunity to work in a more collaborative session or just want to get feedback on your project, come join us in the studio for these open work and skill sharing sessions.


Eyebeam Off-The-Grid Exhibition
Governor's Island: House 15
Friday - Sunday, 12:00PM-5:00PM
6 Sep 2014 - 28 Sep 2014

Solar Day
 is a sculptural installation by Torkwase Dyson addressing the intersection of and mutual relationship between sunlight, architecture, space, liminality, time and the body. Site-specifically located inside a mildly sunlit room, Dyson experiments with architecture as a technology to sculpt and compose sunlight for 20 solar days. Each sculptural element is engineered using minimal tectonic forms pulling daylight deeper into the interior space increasing luminosity and evoking serenity and contemplation. 

The installation is inspired by the seminal text Incidents in the Life of a Slave Girlwhere Harriet Jacobs’s [Linda Brents] describes living in her grandmother’s garret before escaping to New York. For seven years Jacob’s hid in the negative space of a pent roof to escape her slaver. She designated the nine feet long, seven feet wide and three feet high non-space within the intended architectural design as place for her emancipation.  With very little admission for either light or air over the years this micro-climate she radicalized as threshold to freedom simultaneously impacted Jocob’s physiological state. Dyson deconstructs the garret, to address spatial and geographic strategies of black resistance while pointing to the critical natural resources needed to support endurance and livability. 

To further explore ideas of light, memory, ritual, the body, space, and materiality, Dyson will collaborate with multi-media artists Bahar Behbahani and Shani Ha.  During a series of interactive engagements through video and performative sculpture, Ha and Behbahani will invite audiences to into the installation to explore sensory relationships to the materiality, touch, and light.

Shani Ha is on the edge of Art and Design.  She creates versatile sculptures by twisting familiar objects to question intimacy and its relationship to others.  Shani emphasizes or diminishes the shapes and materiality of these objects, which are usually related to private contexts.  These pieces are the catalysts photographs, installations, and collaborative performances.  Shani Ha is interested in social behavior in their relationship to comfort and conviviality.  Her sculptures suggest potential functions and tend to become design pieces.  They can be stimulated through performance, experimentation and appropriation, either spontaneously or with a scenario.  These actions engage the viewer and performer directly and provoke co-presence and social interactions inside the piece.  Shani was born in France but now lives and works in Brooklyn NY.


Performance Date: Sept 27th @ 3:00

Bahar Behbahani is a multidisciplinary artist who lives and works in Brooklyn NY.Behbahani’s work addresses her long-term conceptual dialogue with memory and loss, representing her chronic displacement and longing. Through her lyrical videos Behbahani stages a contemporary cultural critique by layering and juxtaposing allusions to past and present socio-political circumstances with a language that she draws from her experience as a painter.   More recently, Behbahani has been working on a multilayered investigation, a collection of collaborative works, which encompasses a group of videos and a participatory installation, centering the role of bread in our contemporary culture through stimulating abandoned memories. 

Over the course of 2 hours, Behbahani takes the role of masseur, offering participants a 5-minute massage, while they are lying down to view a video. Shortenin’ Bread is a response to Torkwase Dyson’s sculptural installation, and examines the blurred line between consolation and discomfort. Shortenin’ Bread experiments with stimulating people’s memory through the process of being massaged while engaging their sense of sight and hearing, and together they experience the role of sensoria in reproducing forgotten memories.

Performance Date: Sept 20th @ 3:00



Online ticket sales are now closed.
Limited space available at the door.

Eyebeam and The New School present a panel discussion that explores the cultural and psychological implications of wearing technology. The event will feature leading researchers in clinical psychology, contemporary art history, and fashion technology who will offer insights into the history of wearables and how the body is represented and experienced in fashion design and performance.

Susan Ryan (Louisiana State University), will discuss her recent book, Garments of Paradise (MIT Press), a comprehensive survey of wearable technology that lends a critical eye toward both the design and social context of our devices, from the Walkman to Google Glass. Miriam Steele, Hannah Knafo (The New School) and Sabine Seymour (Parsons) will present their current research project, BodyMetaphor, which bridges design, art, and social science to examine fashion and wearable tech's influence on self-perceptions and physiological assessments of the body. Wendy D'Andrea and Steven Freed (The New School) will examine the intersection between body awareness and physiological states, and the mediating influence of emotion.

Wearing Technology is organized as part of Eyebeam's Computational Fashion initiative, which brings together artists, fashion designers, scientists, and technologists to explore emerging ideas and develop new work at the intersection of fashion and technology. Eyebeam is a nonprofit art center that supports and promotes dynamic and risk-taking work at the intersection of art and technology. Computational Fashion is supported in part by The Rockefeller Foundation Cultural Innovation Fund.

About the Presenters

Susan Elizabeth Ryan, Ph.D., Professor of Art History at Louisiana State University and Affiliate of the LSU Center for Computational Technology (CCT). She teaches contemporary and new media art history and has helped found an interdisciplinary Art/Engineering undergraduate minor at LSU entitled AVATAR. She has lectured internationally on dress and creative technology, and has published several books in the fields of art and design history including the recent publication from MIT Press, Garments of Paradise: Wearable Discourse in the Digital Age.

Miriam Steele, Ph.D. is a professor of psychology and the Director of Clinical Training at The New School for Social Research, Clinical Psychology department. Dr. Steele is the co-director of the Center for Attachment Research  with Dr. Howard Steele. Research concentrations included the bonds between parents and children and the intergenerational consequences on attachment, adoption and foster care, and the intergenerational transmission of body image.

Dr. Sabine Seymour is an Assistant Professor of Fashionable Technology and Director of the Fashionable Technology Lab at Parsons The New School for Design. She is an entrepreneur and conceptual researcher focusing on the next generation of wearables and the intertwining of aesthetics and function in our "second skin".  She is described as being an innovator, visionary, trend setting, holistic in her approach, and a lateral thinker and has been involved in wearables for almost two decades. moondial.com

Hannah Knafo, MA is a doctoral candidate of Clinical Psychology, in her third year of the PhD program. Her dissertation research focuses on the intergenerational transmission of body image dissatisfaction from mothers to their daughters in middle childhood. Hannah is a Student Advisor for The New School for Social Research, and a lab manager at The Center for Attachment Research, directed by Drs. Howard and Miriam Steele. She is currently training as a therapist at The New York Psychoanalytic Society and Institute and The New School Counseling Center.

Wendy D'Andrea, assistant professor of psychology at The New School, received her doctorate at the University of Michigan and completed her postdoctoral work with Bessel van der Kolk at The Trauma Center. Her expertise is in the area of the psychophysiology of complex trauma exposure. In particular, Dr. D'Andrea's lab examines the physiological mechanisms associated with the loss of affective and self-awareness, and the consequences of blunted affect on cognitive and social functioning.