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Photo (CC) Becky Stern, also of MAKE / Craft.

Calling Nam Jun Paik a video art pioneer would be too narrow to describe his impact. In exploding the idea of what television and television processing could be in his art, he helped create a conceptual revolution that cleared the path for today’s ubiquitous and always-dynamic screens. But to really understand that work, you might want to delve into the theory of cybernetics, for the same reasons that can help understand early, radical electronic music and the path we’re on today.

Rhizome has a lovely essay by Carolyn Kane, framed by a new gallery show in New York. That show should be a pilgrimage for ardent Paikists. With animal-machine hybrids and screens everywhere, this is the cybernetic thought process made manifest, just at a time when we’re finding new insight into our relationship with technology as it becomes mobile.

As a Buddha gazes into a screen, visualists can contemplate being the screens on which they project. As Kane writes:

Paik is well known for transforming the architectural function of the television set from a mere box to an element distributed in space. However, these interventions must also be contextualized with his ongoing interest in cybernetics, a theory of animals and machines in their environment. In 1971 Paik asserted that today, the “nature of [the] environment is much more on TV than on film or painting. In fact, TV (its random movement of tiny electrons) is the environment.”

Maybe it’s time for some new visualist manifestos.

The Cybernetic Pioneer of Video Art: Nam June Paik [Rhizome]


We wouldn’t want to let a week slip by without something new being made to twitter would we?  This time it is a toilet. Don’t worry, they are sparing us the graphic details, it pretty much tweets every time it is flushed. As you can see in the picture above, they’re using an Arduino for the toilet/PC connection. If you really want to make something twitter, this might be a good starting point. It’s basically twittering every time a button is pushed. You can download the source code on the site as well as find a tutorial on Arduino basics.

[via astera]

Solo show at Charlie James Gallery “EVERYTHING YOU WANT, RIGHT NOW!” April 25 to June 6.

Everything You Want, Right Now!

Steve Lambert solo show walkthrough from Steve Lambert on Vimeo. Or on youtube.

See also Arrow Sign in Los Angeles for more.


Charlie James Gallery
975 Chung King Road
Los Angeles, CA 90012

As always, thanks for the support of Eyebeam!

Steve Lambert solo show walkthrough

Steve Lambert's show "Everything You Want - Right Now!" at Charlie James Gallery in Los Angeles' Chinatown.

This walk through includes some of the work from the show, which runs from April 25 through June 6th, 2009.

If you have any questions, please feel free to get in touch.
More information: visitsteve.com/work/everything-you-want

Thanks for the support of Eyebeam.org


Cast: Steve Lambert


The artists and works presented in the second series of Circuit are:

Geoffrey Bell-Musical Chair:A game for One, Andrew Boch-Graff-Fi, Ernesto Klar-Convergence Parallele, Ilias Koen-Albatross, Marta Lwinpolymorphic [d(eoxyribo)n(ucleic) a(cid)]: a love story, Syuzi Pakhchyan-SparkLab, Tara Rodgers-Place I've Traveled To,1973-2005



Eyebeam presents the second installment of Circuit, a new program providing emerging artists working with technology the opportunity to take over Eyebeam's exhibition space for three days and participate in critiques, roundtables and public presentations. An exhibition of this new and largely unseen work by seven artists will be on view in Eyebeam’s exhibition space on Friday and Saturday, May 19-20 from 12-6pm. The artists will give public presentations and/or performances on May 20 at 4:00pm, followed by a reception at 5:30pm. These events are free and open to the public.


Circuit was developed by Eyebeam's Education Studio, in collaboration with media artist Yael Kanarek, in response to the need for emerging artists to have the opportunity to present work and receive feedback in a professional setting. Circuit showcases new and experimental projects, introducing new artists from across the nation to the New York City public and arts and technology community.

Artists Participating in Circuit #2:

Geoffrey Bell
Musical Chair: A Game for One
, is an installation that is influenced by the artist's fascination with visual apparatuses from the 19th century. Toys such as the phenakistiscope and zoetrope required the viewer to sit motionless while spinning a disc to form a coherent moving image. As the viewer/participant in Musical Chair: A Game For One moves within the installation, their reflection fractures until they ultimately find that they are playing a solitary game of Musical Chairs with six reproductions of their own image. When the viewer remains still, the repetitive images of the viewer gradually coalesce into a single image. Audio segments are also triggered and manipulated by the viewer’s movements to further enhance the experience. Like Joseph Kosuth’s that codify and extrapolate three different representations of the same subject, this piece forces the viewer to become both the viewer of the apparatus and the apparatus itself. Musical Chair: A Game For One is impossible to win and even more absurd to play. The inclination for the viewer to decode their self-generating system is hard to resist and multiple players only convolute the viewer’s own participation. The game essentially turns into a solipsistic game of playing with oneself.

Geoffrey Bell is a new media artist who combines emerging technologies with traditional media. His projects include multimedia theatrical productions, video installation and animation. His works are exhibited nationally and internationally, and have received numerous awards and fellowships, including the RTKL fellowship and funds from The Andy Warhol Foundation. His recent interests delve into the cognitive and perceptual effects of invented immersive technologies. He currently works in Baltimore.

Andrew Boch
Graff-Fi (Wireless Graffiti v)
is a software interface that enables users to "tag" web pages accessed over open wireless networks. An extension of the wireless hacking software airpwn, Graff-Fi bridges the worlds of hacking and graffiti, providing a new "virtual" surface for graffiti and other forms of creative disruption/harmless meddling. Presented as an installation, Graff-Fi allows users to both try out the interface and view its effects on provided terminals or their own laptops. Bootable CD's are also available to allow participants to bring Graff-Fi out of the gallery and into their neighborhood. Gallery visitors are encouraged to bring their own wirelessly enabled laptops to act as additional clients.

Andrew Boch is an artist, designer and maker. His work focuses on interactivity and expanding the creative experience of his audience. A founding member of the art collective Reasonable People's League, Andrew's past works include the performance event Paint Show, Goop Dream (a video installation) and the iGPS sound installation. Andrew currently splits his time between Boston, Providence and New York and finds himself wishing the "north side" of BosWash had better public transit.

Ernesto Klar
Convergenze parallele
is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in real-time by a custom software system. The installation reacts to both natural and artificial air movements in the exhibition space, prompting the viewer to interact by blowing air towards the light and to observe the amplified sound-image relationships. Convergenze parallele explores the poetic potential of revealing and transforming the imperceptible, in the attempt to "see the invisible, or if you like, take a sounding on the incommensurable.”

Ernesto Klar is a media and sound artist based in New York City. Klar's works have been presented at the Institute of Contemporary Art in Boston, the Danspace Project, Roulette Intermedium in New York City, the Center of Contemporary Culture of Barcelona (Spain), among others. His awards include grants, fellowships, and commissions from the Cambridge Arts Council, the Massachusetts Cultural Council, the Italian Cultural Institute of New York, the Jerome Foundation/Roulette, and the Illuminating Engineering Society of New York. Klar holds an MFA in Design and Technology from Parsons The New School For Design, and a BM in Composition from Berklee College of Music.

Ilias Koen
is a prototype mechanism exploring the interplay of data collection and robotics combining a robotic machine with mapping visualization software. Named after Baudelaire's poem encapsulating the central streams of Romantic thought, Albatross is an autonomous structure that roams a space until the end of its life, mapping and scanning the area. It has two limitations; the limitation of the space and the limitation of the radio frequency (RF) that influences the movement of the robot in the physical space and the trace-making in the virtual space.

Ilias Koen, was born in Athens, Greece in 1977. In 2002, he received his B.A. from the School of Fine Arts of Athens. In 2005, he received his MFA from the Computer Art program, School of Visual Arts. He has been awarded with scholarship from the Onassio Foundation and the Gerodelis Foundation. He is currently developing machines that interact with ideas of vision and perception. He lives and works in Athens, Greece and New York, USA.

Marta Lwin
polymorphic [d(eoxyribo)n(ucleic) a(cid)]: a love story

This installation consists two wall-mounted plates containing DNA samples and corresponding digital sequences from the artist and her partner. The DNA, while invisible, is represented in the laser etched plates using contemporary scientific iconography. The DNA sequences are visualized by using two video monitors (with audio) depicting lips speaking the DNA mapped to generative english language. The disembodied lips take turns speaking to one another, at times interrupting at other times remaining silent. The DNA sequence is derived from a collaboration between Lwin and scientists at NYU Medical Center, Study of Human Genomics, and the American Museum of Natural History, Center for Comparative Genomics. polymorphic [d(eoxyribo)n(ucleic) a(cid)]: a love story looks at the contemporary methodology for encoding DNA, and it's application and ethical ambiguities in genetic testing for the purpose of reproduction and it's impact on human evolution.

Marta Lwin is an artist, technologist, researcher and has recently completed her masters at the Interactive Telecommunications Program at NYU. Marta has a background is both in art and activism. She has worked as an activist in the early to late 90's, with Greenpeace, UNEP, Women's Environmental Network and Reclaim the Streets (UK). After joining a loose network of artists at Backspace (http://bak.spc.org/) in London she became interested in the creative use of technology as it relates to biology. Currently, her work focuses on the intersection of art, technology and include projects that critically challenge and subvert accepted perceptions of the relationship between nature and technology. She has recently been awarded a Turbulence Art Commission, with the support of the Jerome Foundation. Her work has been shown at galleries in Europe and New York. Publications covering her work including Engadget, Core77, Treehugger, Cool Hunting, MocoLoco, WorldChanging, Rhizome and We Make Money Not Art.

Syuzi Pakhchyan
Weaving electric circuitry with handwork, SparkLab carves out a space for the cultural production of technologically crafted artifacts. Instead of technology influencing and shaping culture, SparkLab shifts the prevalent paradigm and empowers the deliberate amateur to tinker, create and shape technology, examining the way we use our wardrobe as an interface to interact with the world around us.

Sparklab consists of three main DIY wearable projects. The first DIY wearable is a detachable hood that uses light to reveal and conceal imagery. The drawstring of the hood functions as a switch. When tugged and pulled, the embedded string of LEDs hidden on the inside of the hood illuminate. When the light is activated, the image hidden inside the hood is revealed. The second project uses heat and thermochromatic inks instead of light. This jacket with thermochromatic elbow patches uses the zippers on the lower arms to send a current to the patches. A timing circuit allows the current to remain on for approximately 30 seconds. The last project, a wearable light kit is a leather cuff with LEDs embedded inside, uses Velcro functions as a switch so the bracelet only illuminates when it is in active use.

Syuzi Pakhchyan is a media designer and tinkerer working and residing in Los Angeles. She received her MFA in Media Design from the Art Center College of Design. Her MFA thesis titled SparkLab investigates the intersection between culture, technology and craft. Her designs explore and encourage ludic activities that celebrate the quirky and speculative, and reflect personal experiences and cultural narratives. Currently she is working as a freelance Media and Interaction Design Consultant and teaches a robotics class to children.

Tara Rodgers
Places I've Lived & Traveled To, 1973-2005
is an audiovisual composition tracking the artist's movement patterns throughout her life, based on memories of living and travel. Places are arranged chronologically with relative durations, timescale: 30 seconds = 1 year. Latitude, longitude and elevation data describing each place are mapped to sound frequency. Audio output is input to video. Rhythms of sound illustrate movement patterns, and a waveform representation of the places Rogers has been continually pass by the window-like frame.

Tara Rodgers is a musician and writer. Her current projects use scientific and demographic information to render large-scale patterns of living systems in sound. As Analog Tara, she has released music on compilations with Source Records/Germany and the Le Tigre Remix. She also publishes Pinknoises.com, a Web site about women DJs and sound artists, which was nominated Best Music Web Site at the 2003 Webby Awards; and has written about electronic music for Leonardo Music Journal, Organised Sound, and other publications. Tara was recently a Visiting Professor of Sound at the School of the Museum of Fine Arts, Boston. She has a BA from Brown University and an MFA in Electronic Music from Mills College.


Eyebeam is pleased to present three new installations developed in our studios exploring innovative uses of sound and light, both visible and undetectable, to fix and define spatial environments.

There will be an opening reception for this exhibition Thursday June 29 from 6-8pm.

In addition to physical installations from Jeff Feddersen, Elliott Malkin and Theodore Watson, online projects from students in Eyebeam's after-school program New Media Collaborative combine sound with mapping to define the borders and cracks of our personal and collective experiences in New York City. This exhibition is open to the public from 12-6pm, Tuesday through Saturday and is free of charge with a suggested donation. Eyebeam is located at 540 W. 21st Street between 10th & 11th Aves in Chelsea.


Projects, politics and proposals inspired by artists and activists

This summer students in the three-week long Digital Day Camp (DDC) and participants in the Summer School workshop series have explored the relevance of and issues surrounding biotechnology projects by artists and activists. Students studied the fundamentals and ethics behind biological research (ie animal testing, germ warfare, bacteria and vaccines, dna, food growth and nano-technology) and green design, including the politics and groups involved in executing such projects.

Starting July 19 projects developed by students, workshops participants and teaching artists will begin to be installed in Eyebeam's exhibition space as part of a "growing" exhibition.

Included in the exhibition and in conjunction with the Panorama Screening Living Culture will be artist Justine Cooper's four channel video installation Scynescape. The images are real-time recordings of the artist manipulating samples of her hair and skin cells on a scanning electron microscope.


Studies for Synthetic Meteors

Reentry: New York City merges iconic night cityscapes with HD computer simulations in a series of studies for a daring new public art project: synthetic meteor showers in the Manhattan sky. Evoking the spectacle of the Apocalyptic Sublime painting movement and the audacity of Land Art, these new simulations created by Bill Dolson during his Eyebeam residency will be on view Sept. 21 through Oct. 21, with a special opening reception Sept. 21, 6-8pm. The exhibition is open to the public Tuesday through Saturday from 12-6pm and is free of charge with a suggested donation.

Reentry: New York City contains twelve HD videos of synthetic meteor showers envisioned as luminous, ephemeral drawings in the upper atmosphere that will persist for only seconds or at most, minutes. While quite fantastic, the studies are conceived to demonstrate the technological feasibility of the project, established with the contributions of scientists at agencies such as NASA, Ames Research Center and Los Alamos National Laboratory, among many others. Technical and conceptual background information will be explained in an animated demo, short documentary and printed handouts accompanying the exhibition.

Reentry: New York City uses new technologies to draw on the tradition of the early large scale land art first produced in the 1970s by such innovators as Michael Heizer, Robert Smithson, Robert Morris and Walter de Maria, evoking the same sense of daring, wonder and existential awareness which the scale of these seminal works produced. Updated in a scientifically inspired gesture, the synthetic meteors avoid the permanent monumentalism of earlier land art by their dynamic and ephemeral nature.

Reentry: New York City recalls the Apocalyptic Sublime, a painting genre of the late 18th and early 19th centuries in Britain, in both content and intent. Leading artists of the time including Benjamin West, William Blake and JMW Turner produced popular Apocalyptic Sublime works depicting apocalyptic themes such as The Deluge or scenes from the Book of Revelations, often in urban settings and frequently featuring comets or meteors. The projections and screens in Reentry will be presented salon style. However, in the two hundred years since the Apocalyptic Sublime, the purview of art has been extended from the depiction of an apocalyptic event to the physical staging of one, the grandeur of the proposition, both commenting on and questioning our own spectacular society.

Dolson is simultaneously exhibiting digital C-prints of frames from these video studies at Photographic Gallery, 252 Front Street (South Street Seaport Historic District) in New York City. The exhibition, Trajectories: Carter Hodgkin & Bill Dolson opens September 28 with an artists' reception 6-9 pm.

For information on Dolson's Sky/Ground works, including Synthetic Meteors, along with biographical and technical notes, please visit



Ingen Titel is an animated still life created by Veronica Skogberg during her year-long fellowship in Eyebeam's Production Studio.

The photorealistic computer graphic environments in Ingen Titel reference the composition and lighting of traditional painted still lifes. By incorporating subtle animation into object textures and details, and introducing the element of time, Skogberg embeds the possibility of narrative in the images. Ingen Titel plays with the different ways audiences view still versus moving images, based on visual languages set up in film and painting. The animations were created using Maya, Mental Ray and After Effects.


Eyebeam presents an exhibition of animated still lifes created by Veronica Skogberg during her year-long fellowship in Eyebeam's Production Studio. Ingen Titel (or roughly translated to Untitled in Skogberg's native Swedish) will be on view through Nov. 4 with a special opening reception Oct. 19, 6-8pm. The exhibition is open to the public Tuesday through Saturday from 12-6pm and is free of charge with a suggested donation.

The photorealistic computer graphic environments in Ingen Titel reference the composition and lighting of traditional painted still lifes. By incorporating subtle animation into object textures and details, and introducing the element of time, Skogberg embeds the possibility of narrative in the images. Ingen Titel plays with the different ways audiences view still versus moving images, based on visual languages set up in film and painting. The animations were created using Maya, Mental Ray and After Effects.

Veronica Skogberg is a 3D artist with the focus on materials and lighting. Before Eyebeam she freelanced at various graphics studios in New York City. Skogberg studied painting, sculpture, product design and 3D animation Sweden before completing her BFA in Design and Technology at Parsons School of Design.