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In anticipation of Eyebeam's upcoming exhibition in collaboration with Moving Image Fair, New York, March 7th - 9th, Eyebeam Storefront presents a book launch and panel with author and artist Chris Meigh-Andrews. The event outlines the approach and concerns of his book "A History of Video Art" (Bloomsbury, 2013). He will be joined by a panel of distinguished video artists, writers and curators from the USA and the UK who will discuss their own attitudes to the development of the medium and how it has influenced and impacted their approach and ideas including Peter Campus, Beryl Korot, Terry Flaxton, Chris Meigh-Andrews, Mary Lucier and Lori Zippay. 

Video art is now an established and accepted art form, but this has not always been the case. During its comparatively short history the genre has evolved from a marginalized and obscure underground activity to its current dominant position, transformed by rapidly changing technological, cultural, social and political events. Join Eyebeam for a discussion on the value, impact and importance of the history of video as an art form and its continued relevance in contemporary practice.

Chris Meigh-Andrews is a video artist and writer who has been making and exhibiting screen-based video and sculptural moving image installations since the mid 1970’s. His site-specific and commissioned installations often incorporate renewable energy systems and establish direct relationships with the natural and constructed environment. 

Peter Campus, widely recognized as a pioneer in video art and in computer-enhanced digital photography, has had one-person shows of his seminal interactive and single channel video in major museums throughout the world and in distinguished group exhibitions. 

Beryl Korot has pioneered the field of video art and in particular multiple channel works since the early 1970's. She was co-editor of Radical Software (1970), the first publication to discuss the possibilities of the new video medium, and Video Art (1976). 

Terry Flaxton has been an impassioned, indefatigable presence in British Independent Video for almost two decades. During this time he has assembled an impressive body of work encompassing powerful, polemical documentary (produced as a member of ground-breaking outfits Vida and Triplevision) and highly personal, poetic video art. 

Mary Lucier is an American artist who has worked in many mediums including sculpture, photography, and performance. Concentrating primarily on video and installation since 1973, she has produced numerous multiple- and single-channel pieces.

Lori Zippay is the Executive Director of Electronic Arts Intermix (EAI) in New York. Over the past twenty years, she has also curated numerous exhibitions, written, taught, and lectured extensively, and has participated in many panels, conferences and international festival juries.


- Download the software script in Processing and the examples to make your own HD stencils

This project combines the parodying of celebrity culture and an innovative technique of graffiti art, using high resolution (HD) stencils. The stencils are digitally generated by a simple code, printed with laser cutters, to then be used with regular spray paint.

Tabloid Graffiti mocks popular gossip magazine covers, using derisive words for headlines and original photos from popular celebrity tabloids, such as People, Us Weekly, and OK!. Deploying this misappropriated content against itself, Tabloid Graffiti infiltrates the language that fuels celebrity-obsessed culture as a strategy for subverting its imagination. This undermines the relentless onslaught of celebrity media coverage, while introducing the idea of Celebrity Piracy in art and activism practices through exploiting its economy of popular names and faces.

High Definition Stencils - How It Works
This is a painting technique rendered with special stencils and spray paint, that begins with the use of custom-made software and laser cutters, using four channels as in subtractive color printing. Once printed, the stencils have the potential be used on a range of surfaces, from small pieces of paper to walls of buildings.

Each element of a given image begins as a PSD file so that it can be split into four channels, CMYK, for subtractive color printing. The individual channels are then saved as four JPGs, inverted in negative for each color channel of the image.

A custom-made software script in Processing transforms the JPGs into PDF vector files, ready to be used with the laser cutter. The script in Processing draws a vector grid of tiny holes, which never overlap, and their scale corresponds to the luminance of the pixels from the initial JPG. Through the settings in the script, it is also possible to determine the shape of of the pinholes (circle, triangle, square, star, etc.), regulate the resolution of the grid of the stencil by changing the density, and the maximum and minimum size of the pinholes. Once the PDF is printed through the laser cutter, the resulting stencil is ready to be sprayed. Four stencils will need to be cut from each initial JPG to recreate a full-color painting.

The size of the JPGs, in centimeters or inches, will be the actual final size of the PDFs and of the physical stencil; therefore, size should be taken into consideration for the laser cutter and for printing on various surfaces. The DPI of the source JPGs will only slightly affect the resolution of the stencil, but not the size; so, even low resolution JPGs (72 DPI) will produce a high quality HD stencil. These notes about the DPI should be considered taken from preliminary experiments.

With the four resulting stencils, each layer is applied in order of the abbreviation of the channels, spraying the stencils in order of color: first, Cyan; second Magenta; third, Yellow; and last, Black. White background surfaces yield the best results.

The stencils are keyed so that the layers and the offset align, resulting in a full-color image painted on any surface. This is facilitated through the template of the PDF with alignment holes cut by the laser cutter at the same position for each layer.

The script in Processing as well as the technique invented for this project are released in Open Source with Attribution-NonCommercial-ShareAlike CC BY-NC-SA This license lets others remix, tweak, and build upon your work non-commercially as long as they credit you and license their new creations under the identical terms.


This artwork questions the use of Video Visitation technology introduced in US prisons over the past several years. The term "White Torture" originally comes from Iran, where intellectuals, activists and detainees themselves use it to refer to the use of incommunicado solitary confinement. In the installation a reproduction of the Video Visitation device is installed inside a small, uncomfortable white booth. One by one, audience members come inside the booth to watch the videos and pick up the phone receiver to try to communicate through the device. The videos played on the screen are clips recorded from the previous person in the booth. These recordings are extremely overexposed, with the white color and white noise in the speakers, making the images opaque and the sounds very hard to understand. The device plays in the previously recorded short video for each subsequent visitor. Afterwards, it publishes the clips on a public website. By taking part in a disturbed encounter with themselves, the installation's participants ultimately become prisoners of the mediated human interpersonal communication. The audience's experience in first person is a symbolic representation of White Torture - social and sensory isolation through both the attempt to communicate with someone not present, visible or audible, and the state of being under camera surveillance.


As part of the 2014 Annual Showcase, join participating Eyebeam artists for a full day of invigorating inquiry into critical approaches to emerging technologies and their creative usage.  Topics will include: Art and Speculative Physics, Fair Use and Creative Rights Online, Opacity and Imperceptibility within Technology, and Bushwick: Learning Lessons from The East Village and SoHo.


Schedule of Events:

11:30AM -12:00PM

Doors Open

12:00PM - 1:00PM


The machine logic of labor is so clear on paper. In action, however, inputs are shaped by ideological assumptions and historical baggage and outputs interpreted by the same, effectively reproducing those biases. The practices of the two artists on this panel shed light on this, both tracing beginnings and endings of operation.

Aggregating lines envisioned by Brancusi, Rodin, and Hepworth, Vitruvius, Gropius, and Koolhaas, for Eyebeam Resident Nick Hornby's monumental sculptures and speculative designs accumulate art historical and architectural references result in image/objects both familiar and estranged. Wyatt Niehaus's newest body of moving image work, undertaken while a 2013 Eyebeam resident, studies the rhythms of fully-automated 'light-out' factory machinery that runs without human supervision, capturing the unexpected aesthetic flourishes of technology at peak efficiency. 

Panelists: Nick Hornby, Eyebeam alumnus, artist; Wyatt Niehaus, Eyebeam Resident, artist

Moderator: Zachary Kaplan, Rhizome Community Manager 

1:00 PM - 2:30 PM

On Bushwick: Contradiction, Co-Dependence or Conspiracy? The Reification of Avant-Garde Practice

This panel will discuss social and political aspects of the Bushwick art scene. It will be couched in the terms of the institutionalization of an avant-garde that is currently commodified by the speculative art market and at the same time, subject to MFA-ification: its reification as established pedagogy. This creates a climate in which both professional credibility and proximity to the gallery scene are now understood to be necessary though not sufficient for an artist to survive. Thus the narrative of idealism and real-estate development, and the very complex relationship between the utopian goals of the avant-garde and of youth and creative artistic energy, must be reconsidered in terms of those apparently contradictory forces  - of the speculative market and the business of art. This phenomenon has most recently crystalized in Bushwick, but also manifested historically in both Soho and in the East Village. Panelists are gallerists who will discuss these questions in terms of their personal experiences.

Panelists: Kelani Nichole, Transfer Gallery; Nicholas O'Brien, artist and independant curator;Wendy Olsoff, PPOW; Tom Weinrich, Interstate Projects

Moderator: Mostafa Heddaya, managing editor Hyperallergic  

2:30 PM - 3:30 PM

Fair User: Art and Copyright online

With the democratization of content creation came a preponderance of overzealous copyright claims. Do private agreements between copyright holders and hosting platforms such as YouTube compromise artist's fair use rights? This open discussion invites artists to share their copyright experiences with hosting platforms and debate the future of distributing digital works online. Useful tools to make fair use decisions more confidently will be shared. 

Panelists: Patricia Aufderheide, Co-Director of the Center for Social Media and author of Reclaiming Fair Use: How to Put Balance Back in CopyrightElisa Kreisinger, video artist and artist-in-residence at Eyebeam and Public Knowledge; Michael Weinberg, Co-Vice President of Public Knowledge, a digital advocacy group in Washington, D.C., and author of It Will Be Awesome If They Don’t Screw It Up: 3D Printing, Intellectual Property, and the Fight Over the Next Great Disruptive Technology

3:30PM - 4:00PM


4:00 PM - 5:00PM

Elsewheres: Of alternate universes and other speculations

The artists will be joined in conversation by Dr. Janna Levin a theoretical cosmologist based at Columbia University and Kevin Slavin, Assistant Professor at the MIT Media Lab. Together they will present examples of speculation and simulation in contemporary science as well as in other fields, contextualizing their installation Elsewheres: The Miracle of W 540 21st Street. The conversation will focus on how our world view is being shaped by speculation, how it always has been and what this means for both artistic practices and for society as a whole.

Panelists: Dr. Janna Levin, Professor of Physics and Astronomy at Barnard College, Columbia University; Sascha Pohflepp, Eyebeam Resident and artist; Kevin Slavin, Assistant Professor of Media Arts and Sciences, MIT Media Lab; Chris Woebken, Eyebeam Resident and artist



5:00PM - 6:00PM

Contemporary Temporary - Sound Works and Music (CT-SWaM) presents: Sound In Conversation - Disruptive Resonances Away From the Phenomenon

This roundtable will explore sound as a technological, physical, and artistic phenomena. All three participants share a practice of curating and organizing sound art works, but coming from three different angles, each one of them with his own artistic practice and active in other disciplines. Daniel Neumann, organizer of the series CT-SWaM at Eyebeam has invited writer and sound art curator Morten Søndergaard from Denmark, and composer, installation artist and sound art curator Michael J. Schumacher to talk about ephemeral qualities, aesthetic concerns in spatial sound, post-indeterminacy, the ‘sound citizen’, and how context is fragile - resonate and decaying. 

Panelists: Daniel Neumann, Eyebeam alumnus, sound artist and curator; Michael J. Schumacher, founder and director of Diapason Gallery; Morten Søndergaard, media art curator, writer, and critic



CT-SWaM (Contemporary Temporary Sound Works And Music) is Eyebeam’s late night concert series curated by Eyebeam Alumni Daniel Neumann, happening intermittently in Eyebeam’s Main Space. The series focuses on contemporary sound experiments, electro-acoustic multi-channel performance, social relations, improvisation, lowercase artistic presence, and topology – study of place/space with a spatial concept that goes beyond linear, geometrical understandings of space. 


Andrea Williams, 'Leitfarbe'

Multi-channel, electro-acoustic composition that involves interactive improvisation with the audience.

David First's The Western Enisphere, 'DLYDOT+'

The ensemble will present pieces tailored for the unique characteristics of Eyebeam's Main Space. 

Byron Westbrook, 'Untitled'

A three-channel audio dispersion work which utilizes the architecture of Eyebeam to explore a dynamic of play between heightened awareness of the listening space vs representation of external or fabricated spaces.  

About the artists:

Andrea Williams is a sound artist and composer currently living in Oakland, CA. She utilizes site-specific elements and perceptual cues to reveal the unseen connections between people and their environment. Her compositions make use of field recordings, instruments, computer technologies and the sound of the performance space itself. She has led soundwalks in New York and the Bay Area, and has shown and performed both solo and with various musicians at galleries and alternative spaces internationally, such as the Whitney Museum, Headlands Center for the Arts, Children’s Creativity Museum, NPR, Miami Art Fair, and the Mamori sound artist residency in the Amazon rainforest. Andrea is a founding member of the New York Society for Acoustic Ecology and is the Co-Director of the sound art non-profit, 23five, in San Francisco.


David First's most recent project, The Western Enisphere is a drone and micro-pulse acoustic-electric ensemble featuring violist Jeanann Dara, trombonist Sam Kulik, laptop & audio mixer Will Stanton, percussionists Danny Tunick & Michael Evans as well as First on ebow guitar.


Byron Westbrook is an artist and composer working with the dynamic quality of physical space through site-specific installations and unique listening formats to activate architecture and community. He has presented work at Clocktower Gallery, LMAK Projects, ISSUE Project Room, Diapason Gallery, ExitArt (NYC), ICA London, Human Resources (Los Angeles), The LAB (San Francisco), VIVO MediaArtCenter (Vancouver), O’ (Milan). He has been an artist in residence at Clocktower Gallery, Wassaic Project, Diapason Gallery, Hotel Pupik, and Institute of Intermedia. He has releases with Sedimental, Los Discos Enfantasmes, Three:Four Records. He holds an MFA from the Milton Avery Graduate School of Arts at Bard College and lives and works in Brooklyn NY.


Sign up for the mailing list to get the latest news for CT-SWaM.

The series is supported by the Alice M. Ditson Fund of Columbia University.


Wu Juehui is a recipient of the TASML | Carroll Fletcher Residency Award  

Wu Juehui lives and works in Hangzhou. He is the cutting-edge artist of China’s new media art. In recent years, he focuses on the “potential interface” between art and science, between body and media in collaboration with institutes such as Tsinghua University, Swiss Federal Institute of Technology, Hangzhou Dianzi University. In 2009, Wu Juehui, in collaboration with TASML, started the long-term art project “Brain Station” based on BCI (Brain-Computer Interface) technology. 

Wu has participated in several national and international media art exhibitions and festivals, such as “ZERO1 Biennial”,” Translife – International Triennial of New Media Art”,“Synthetic Times – Media Art China 2008″, “Creators Project 2012”, “SHIFT- Electronic Arts Festival”.

In 2010, Wu Juehui and Shao Ding founded the art group “MeatMedia”, focusing on the “Emotional Interface” in an attempt to find a balance between the“Dry media”and the“Wet media”. Wu Juehui is also a co-founder of “UFO media lab” – the leading new media artist collective in China that focuses on the social application of new media art.

Teaches at School of Intermedia Art, China Academy of Art
Artist in residence at Lab of Neural Engineering, Tsinghua University
Co-FounderUFO Media Lab

'I Have No Words' Emoji and the New Visual Vernacular was a panel discussion with Ramsey Nasser, Fred Benenson, Zoë Salditch, Jenna Wortham, and moderated by Lindsey Weber that took place on Saturday, December 14th, 2013 as part of the Emoji Art & Design Show presented by Eyebeam, Forced Meme Productions and GroupMe with additional support from ArtsTech.

Cast: Eyebeam Art + Technology Center

Tags: emoji


Wages For Facebook draws upon ideas from a 1970s feminist activist campaign as means to think through and challenge relationships of capitalism, class and affective labor at stake within social media today. The project has to date included website, public discussions & workshops and installations with manifestations online and in Chicago, New York, London, San Diego, San Francisco, Stockholm.

In the 70s Wages For Housework demanded that the state pay women for their unwaged housework and caregiving, as the market economy was built upon massive amounts of this unacknowledged work—and its laborers could be seen to constitute a huge working class entirely overlooked by existing Marxist or socialist critiques. Wages for Housework built upon discourse from the anticolonial movement in order to extend the analysis of unwaged labor from the factory to the home. Along these lines Wages For Facebook attempts to draw upon feminist discourse to extend the discussion of unwaged labor to new forms of value creation and exploitation online.

In 2012 Facebook reached more than 1 billion users and generated a revenue of 5.1 billion dollars. It is the first social-media website to be traded on the stock exchange wherein all content on its site is created by its users. Is what we do on Facebook work? How would we calculate our value? What could an alternate form of social media, based on an idea of the commons or a feminist praxis, look like?

As soon as it launched in January 2014 the website wagesforfacebook.com was graced with over 20,000 views (and counting) and rapidly and internationally debated on Facebook, Twitter and in the press—clearly touching a collective nerve and beginning a broader public conversation about worker's rights and the very nature of labor, as well as the politics of its refusal, in our digital age.



On July 1, 2014 Eyebeam will be moving to transitional space for approximately  two years, until its relocation in late 2016 to a new mixed-use building in the BAM Cultural District in Downtown Brooklyn. During this transition, Eyebeam is launching Eyebeam On The Move, a fellowship program designed to support artists’ technology-based projects that incorporate collaborative forms of architectural practice, urban presentation, policy engagement and other forms of meaningful community dialog. 

To learn more, and to apply, please read the open call


APPLICATION DEADLINE: All applications must be received via online application by 12:00PM (noon), Monday, February 3, 2014.

Applicants will be informed of their application status by MARCH 15, 2014.

FELLOWSHIP BEGINS: MAY 2014 (start date is negotiable within reason)

OVERVIEW: On July 1, 2014 Eyebeam will be moving to transitional space for approximately  two years, until its relocation in late 2016 to a new mixed-use building in the BAM Cultural District in Downtown Brooklyn. During this transition, Eyebeam is launching Eyebeam On The Move, a fellowship program designed to support artists’ technology-based projects that incorporate collaborative forms of architectural practice, urban presentation, policy engagement and other forms of meaningful community dialog. Our goal is to open up technology and raise awareness around the importance of creative ownership of technology. Towards this goal, Eyebeam is seeking applications from artists, engineers, designers, curators, urbanists, architects, policy thinkers, organizers and creative technologists to participate in this Fellowship program. Applicants can apply as individuals or as a team.

Eyebeam on the Move is a chance to engage and learn from the city in a direct way, particularly the community around Eyebeam’s future home in Brooklyn, and to develop novel techniques utilizing technology in order to initiate creative dialogue between artists and communities. Eyebeam's goal is to identify mechanisms to strengthen our relationship to communities and to develop processes to  nurture creative technology-based work within them. To help realize these goals, Eyebeam, in collaboration with fellows, will partner with appropriate local, neighborhood organizations.

EYEBEAM VALUES: Critical questioning of the status quo and a belief in progress are core values of Eyebeam. This has been demonstrated through over 16 years of experimentation via creative use and misuse of technology with the goal to innovate and develop better relationships between people and tools. This approach results both in the development of creative platforms and exciting works of art. Some recent examples are Computational Fashion, Zajal, RGBD Toolkit, Street Ghosts, Dead Drops and Flock House.

FELLOWSHIP FOCUS: Eyebeam On The Move will support a cohort of incoming fellows with proposals at complementary stages of development. Ideally, the successful applicants’  proposals will include beginning projects (conception stage) and ones that are in-progress (at least 1/3 of the way complete). Successful applicants will outline clear goals, milestones and timelines. Acceptance is based on quality and visionary potential. Applicants are also expected to show demonstrable success in previous development of related work at this scale.

APPLICATION: Up to three Fellows will be selected to join continuing residents and fellows for an upcoming 24-month cycle, ideally beginning in May but potentially later. If a different start date is preferable, please indicate that on your application inside the "additional information" section. Selected Fellows will be expected to spend at least four days per week working directly on their Eyebeam project and related activities. Fellows are expected to actively contribute to the larger Eyebeam community as collaborative partners to other residents and as principal leads in research initiatives, programs, and public engagement as well as leaders in development of current or future focus areas of the organization.

SUPPORT: Eyebeam On The Move will offer fellowships with a projected two year deep-immersion period. Fellows receive a $30,000/year stipend during their stay in NYC as well as 24/7 access to Eyebeam equipment and dedicated work areas. It is possible for Fellows to take on a limited amount of additional external teaching or consulting work, as long as s/he can fulfill commitments to Eyebeam at the same time.

Eyebeam will work closely with the artists to see their projects realized, including acting as a facilitator to coordinate organizational partnerships, functioning as a gateway to city agencies and community-based organizations and developing other forms of community trust building, learning and engagement.

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 Fellows are responsible for securing their own visas for the Fellowship period. Eyebeam is happy to provide necessary paperwork and advice to help expedite the process.

PARTICIPATION: All Fellows are expected to share elements of their practice via formal or informal learning opportunities within the Eyebeam community or our public community. Eyebeam may offer program support in developing work for performance, events, seminars, exhibitions, or other public and educational programming during the term of the Fellowship. Eyebeam will also facilitate joint presentations alongside community partners of works-in-progress.

Eyebeam fosters and facilitate relationships whereby technologists and artists come together to germinate and incubate their ideas, develop new processes and create new works through a period of immersion in a social and professional context which is rich in technology, expertise and ideas. Collaborative partnerships at Eyebeam are fostered through group critiques, discussions and projects and between other Eyebeam Fellows, Residents and Staff.

APPLICATION REQUIREMENTS: Applications are only accepted via the online application system (link). Applications received after the deadline of 12:00 (EST) PM (noon), February 3, 2014, 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.

Applicants must not be currently enrolled in degree-granting academic programs. Further, applicants are expected to show demonstrable success in previous development of related projects at this scale. 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 CV’s into a single document before uploading.

Complete applications must include the following information:

  • Contact Information
  • Resume or CV (.rtf, .pdf, .doc) -- combined into a single document if applying as a collaborative.
  • Work samples in the form of a URL. 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. You cannot upload your work to our server. You may use a free hosting service such as Flickr (flickr.com) for images, SoundCloud (soundcloud.com) for audio, or Vimeo (vimeo.com) for video. NOTE: Allow permission to download a high quality version of file if using one of these 3rd party services. Alternatively, you may provide a link to your own page with high quality versions of your work samples available for review and download.
  • Concise responses to all required application questions. Incomplete applications will not be considered.
  • One-page visual that outlines the proposal further in PDF format.

FAQ for applicants


Statement on Diversity: Eyebeam is committed to building a diverse creative environment and therefore welcomes applications from people of diverse backgrounds. Eyebeam recognizes diversity as encompassing personal style, age, race, gender, ethnicity, sexual orientation, gender identity, language, physical ability, religion, and family.