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Eyebeam is pleased to be a partner of Art Hack Day, February 28 – March 2. Sixty artists and hackers will inhabit 319 Scholes to explore the idea of "God Mode" and produce new, collaborative projects. Open(Art) Fellows Forrest Oliphant, Toby Schachman, and Addie Wagenknecht will be in NYC to participate along with Eyebeamers, CHiKA, Heather Dewey-Hagborg, James George, Sarah Grant, Greg Leuch, Aaron Meyers, Jonathan Minard, Ramsey Nasser. Join the closing exhibition and party on Saturday, March 2, 7PM–late.

Visitors are also invited to engage and interact with the works as they are uploaded online throughout the hack.

God Mode
What would you do if you were granted the power of invincibility?  It’s an age-old question and one that game developers have been playing with since the early 80s by incorporating a feature called “God Mode” which offers players unlimited strength, seconds of invulnerability, a change in camera perspective, or access to previously unreachable areas. Since then, God Mode has reached beyond gaming and become pervasive in digital life. It's the secret backdoor embedded in all our electronics, it's the jailbreak, it's how phone companies know where you are, it's how ISPs know where you surf, and it's how the NSA can eavesdrop on your communications.

Art Hack Day is an internet-based nonprofit dedicated to hackers whose medium is art and artists whose medium is tech. We bridge the gap between art, technology and entrepreneurship with grassroots hackathons that demonstrate the expressive potential of new technology and the power of radical collaboration in art. We believe in non-utilitarian beauty through technology and its ability to affect social change for public good.

Art Hack Day logo

Eyebeam Art + Technology Center is looking for a part time (3 days/week) Communications Director to start March 11.

Eyebeam Art + Technology Center is the nation's leading center for art and technology, offering artists and creative technologists paid residencies in its Chelsea facility, in addition to a wide range of public programs.

We are looking for a creative self-starter who can work closely with our staff and artists to tell the Eyebeam story. The candidate should be able to engage with audiences through both traditional and social media. Great writing skills, a good design sense, an ability to think strategically, and a collaborative approach are essential. A minimum two years experience in PR or Journalism is required.

Other criteria include:
•Excellent writing skills
•Ability to work directly with artists to craft press releases and PR about their projects •Fluency with social media
•Ability to interpret and improve online metrics
•Ability to work under tight time constraints
•Availability to respond to email/social media/phone inquiries outside of regular office hours
•Proven ability to cultivate and maintain press relationships in traditional and new media •A strong understanding of the contemporary media art field
•Experience writing about art and technology clearly and persuasively
•Willingness to research work of current artists and appropriate technologies as needed •Eagerness to join Eyebeam’s creative team in facilitating the most exciting work in the field!

If interested, please email a cover letter, resume and press release writing sample to: alice@eyebeam.org.

Start Date: March 11 

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About a month ago, I asked Eyebeam alums eteam to write a blog entry on their experiences with e-book publishing to help others who may be going through their own research process. They kindly did so, the result is below. - Roddy Schrock


From pdf to book  (eteam)

In the beginning it seemed so easy, or at least so much easier than editing a video. Easier in terms of technological and space requirements. But as it is with pretty much everything we do, things don’t turn out the way they appear at first. And writing a book was no different. Instead of 3 weeks it took three month for a pocket book of 58 pages to be written, composed and finally printed. 

And this is where video and printing share very similar qualities. Getting the digital file from our editing tool into a “permanent” form was equally challenging for print as it was for video with it’s codecs, frame sizes and output formats. So when we finally thought, that’s it, just make a pdf and send it off to the printer, we were faced with the limitations of our default print-on-demand choice, LULU. We have no idea why we only thought of LULU, but we had used its service before and were satisfied with its result. Only this time we weren’t looking for bright white pages and optimum color reproductions, but for a simple pocket book in a paperback format, 5" x 8" with black text and b/w images on off white, natural or cream paper, perfect bound. Nothing fancy, just the basics.

LULU only offers 5.83" x 8.26" as it’s smallest size and allows only for certain size/binding combinations to choose cream paper. Our choice wasn’t included. And even so much spoke against it, we did complete the process in LULU, hoping that it might not be so bad. But once we received our 4 copies, we weren’t happy. It felt like a smooth and slick set of photocopies, perfect bound together. A look and feel we could have probably gotten from Kinko’s as well. The reproductions weren’t so bad, at least we have to give it the benefit of the doubt as we used these copies to do some heavy adjustments to the photos. 

Our next stop was Blurb, we hadn’t considered it at first as we had always seen it as a publisher of photo books and our book should be more of a simple paperback. But, it offered everything we wanted, the right paper size, paper quality and no minimum numbers on orders. The book had to be finished for an opening which was happening in two weeks, so we didn’t spend much time on the details and used blurb’s InDesign plugin to upload a file that would be properly formatted - at least we hoped, based on our marginal knowledge of trim size, bleed and InDesign itself. (A pretty good alternative to InDesign is Scribus, but there is no blurb plugin that takes care of the proper specs.) We completed the process in 12 hrs and placed our next order for 2 books. 

The following day we felt that blurb was a good choice - we hadn’t seen the books yet but felt positively reinforced by the correct options -  and placed a larger order for the show. Only then we noticed to our big surprise the shipping costs. Blurb is much more expensive than any other printing option. Who would want to buy a book for $6 if the shipping is $8? That’s crazy. We cancelled the order for the show and went back to our search for the right print-on-demand service.

createspace was the place we finally found. It is owned by Amazon and offered exactly what we needed, a book in the right size, paper format and binding as well as an ISBN so the book can be ordered from Amazon or through any other book store. Thanks to blurb’s plugin, our file was properly formatted and we could just submit the pdf we had sent to blurb. The process in createspace is a little more cumbersome. If it is your first time with createspace, you have to supply all your tax information if you plan on selling the book. Once the book is submitted, it is reviewed withing 24hrs (via mechanical turk ?) and approved - or not. Only after the approval one can order a proof copy and only after the proof copy has been ordered, the book can be offered for sale - assuming that you have reviewed and approved the proof. Every revision of the book has to go through the same process before it can be printed. In order to speed up the process we skipped the waiting for the arrival of the proof and released the book as soon as the proof order had been placed. - When the proof finally arrived, the book had come out nicely and even arrived before the blurb copies that had a much heftier shipping price.

LULU.com  

pro’s: good color print, fast, decent shipping costs, ISBN option and e-book iTunes store connection

con’s: limited option for size and paper type

Blurb.com

pro’s: good color print, many options for size and paper type, e-book conversion option for iTunes store

con’s: Blurb does not currently issue ISBNs, overly expensive shipping costs, slow production 

createspace.com

pro’s: good print production, many options for size and paper type, fast production time, free Amazon publisher ISBN and e-book Kindle store, option to also distribute through Ingram distribution and overseas

con’s: Further contribution to Amazon’s growth, approval process, submission of tax information,

bookbaby.com

we haven’t used this option as it has a minimum amount of 25 books, but it has all the options that createspace offers and it offers a wide range of e-book distribution, all options are offered mostly as packages with a minimum of 1 or 25 books.

And finally, here is a link to the book “Buzz Cut” we just published so you can see how it is presented. Amazon has more exposure, but you will get less royalties; CreateSpace is pretty much limited to your marketing efforts and give you more royalties.

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Berlin-based composer and saxophonist Andre Vida has performed widely as a soloist and has collaborated with a diverse group of artists including Anthony Braxton, Kevin Blechdom, Tim Exile, Yona Friedman, Jean-Baptiste Decavele, and Jamie Lidell. Most recently he has worked closely with Anri Sala on multi-media installations at the Serpentine Gallery in London, the Roman Ampitheatre in Arles (produced by the LUMA foundation), and the Museum of Modern Art in Louisiana, Denmark. He is currently working on a commission for a new solo work to be performed at Global Art Forum 7 in Doha and Dubai in 2013. Vida's compositional work focuses on the medium and materiality of scoring and includes explorations of animation, lighting, and costume design as essential elements of a compositional system that reflects the physicality of performance practice. These works have been performed in installation by members of CalArts, the St. Louis Symphony, The European Saxophone Ensemble, Fersteinn, and by the numerous experimental musicians who performed with Vida weekly during a three-year residency in Berlin. A three-disc box set of his work from 1995 - 2011 was released on PAN and he has been featured in The Wire, TANK, Monopol, and Electronic Beats.

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Justin Blinder is a Brooklyn-based media artist, programmer, and designer. His work examines how our claims of ownership, criteria for an object’s value, and tools for social interaction have changed in the digital landscape. Justin’s project Dumpster Drive, a file-sharing application that recycles digital files, helped to build a networked community of users around the ubiquitous, but understudied, digital process of deleting.  

Justin's work has been featured on media outlets such as the New York Times, the Washington Post, the Atlantic, the BBC, Gizmodo, and GOOD. In the past, he has worked as a technical director for projects exhibited at the Brooklyn Museum, the New York Hall of Science, and the Whitney Museum’s Artport. He holds a BFA in Design & Technology from Parsons the New School for Design.

 

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Claudia Hart is an artist working with post photographic simulations technology to create media installations, objects and images. For the past fifteen years, she has used virtual imaging and 3D animation to create hyper-feminine, often erotic installations, sculptures and photo integrations that deal with issues of representation, the role of the computer in shifting values about identity and the real and what might be considered “natural.” Her works are polemical and meant to interject an emotional subjectivity into what is typically the aggressive, hardcore iconography adopted by the computer graphics industry.

Claudia Hart is represented by bitforms gallery, NY.  She is a former IDMagazine as well as an Artforum editor and is an Associate Professor in the department of Film Video New Media and Animation at the School of theArt Institute of Chicago, where she developed a special program,“experimental 3D,” in which she developed new pedagogical structures for teaching computer animation in the context of the avant-garde and experimental film.

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The Subnodes project is an open source initiative focused on streamlining the process of setting up a Raspberry Pi as a wireless access point for distributing content, media, and shared digital experiences. The device behaves as a web server, creating its own local area network, and does not connect with the internet. This is key for the sake of offering a space where people can communicate anonymously and freely, as well as maximizing the portability of the network. No dependibility on an internet connection means the device can be taken and remain active anywhere.

Future plans include enabling mesh networking so that devices within proximity to each other becomes a node in a greater local network, extending range and making it possible to exchange information with each other.

In addition to the practical aspirations of the Subnodes project, participatory social applications are also being developed, ranging from practical (a wireless neighborhood bulletin board) to experimental (social experiments connecting people within the immediate vincinity). The first of these is Hot Probs, an open, public chat room that allows for anonymous, untracked conversations.

Benton-C Bainbridge, Ian M. Colletti and Jocelyn Ladd will present a short collaborative video, music, and dance performance at Eyebeam.

Learn and create new experiments with the RGBDToolkit, an open source software application for depth-enabled filmmaking. By augmenting a high definition video camera with a depth sensor, the toolkit captures the scene as colorful three dimensional forms. No programming experience is required. $75/day; $125/weekend. Student & freelance discounts available. Purchase tickets, here.

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Purchase tickets!

Freelancer/Student: $35 Saturday; $60 weekend
General/Adult: $75 Saturday; $125 weekend 

Depth sensing cameras like the Kinect are not only revolutionizing gaming and interactive media, but also have potential for exploring new cinematic techniques. Join us at Eyebeam to learn and create new experiments with the RGBDToolkit, an open source software application for depth enabled filmmaking. By augmenting a high definition video camera with a depth sensor, the toolkit captures the scene as colorful three dimensional forms. A computer graphics and video hybrid, the data can then be manipulated algorithmically and visualized from new perspectives in post. 

The two day workshop will first focus on learning the RGBDToolkit workflow for camera calibration, data capture, and 3D visualization. The second day will be dedicated to open ended experimentation, either creating videos or hacking on the RGBD  openFrameworks API to explore effects and interactions. We welcome a diverse group of creative people interested in media, video and creative coding to join us in experimenting with this emerging medium. 

The workshop doesn't require any programming experience. Participants need to provide their own sensor (either Kinect, Asus Xtion Pro Live), HD video camera and Mac or PC laptop. We'll provide you with hardware mounts for attaching the cameras together. The attachment mounts will also be available for purchase from the workshop to keep. If you don't have a camera or Kinect, get in touch and we'll pair you up with another participant.

RGBDToolkit's website