Recent Projects


Wearable Weapons awaken the power of vulnerability. 

Wearable Weapons is currently building visual and interactive wearable costumes for an entertainer or singer to wear during a performance or music video.

Right now we are focusing on building a new series of collars with hacked Violet Wands connected to software that pulses mini-electrical arcs through voice interaction.  This is part of a larger series of interactive costumes built with different forms of electricity, fire, sound sensors, open source software, hardware, plant fibers, confiscated scissors from airport security, recycled razor blades, and zip ties.

You might ask... and what are Violet Wands?

Violet Wands are electro medical devices recommended by Edgar Cayce as a healing tool and invented by Nicola Tesla. Violet Wands are also modern, electrical, kink or highly erotic electro-stimulation tools.  They are used for the application of low current, high voltage (min 25 kV to max 65 kV), high-frequency, electricity to the body.  Violets Wands are sold both to the police department and the S&M community. The wands have a variety of intensity levels that do anything from burn to arouse the end receiver.


On November 17th 2pm~4pm I was at the Union Square and marched For or Against friends and enemies. That day, a large group of students and activists gathered in Union Square to Zuccotti Park as part of Occupy movement. I brought two pickets that, one side have ‘My friends’ and another side have ‘My enemies’ and another picket have ‘there is no friend’ and another side of that picket  have ‘there is no enemy’. I engaged in coversation with strangers and friends with questions about the conditions of democracy and politics of friendship!  

Thumbnail visualizes the first Prelude from Bach’s Cello Suites. Using the mathematics behind string length and pitch, it came from a simple idea: what if all the notes were drawn as strings? Instead of a stream of classical notation on a page, this interactive project highlights the music’s underlying structure and subtle shifts.


Lumarca is a truly volumetric display which allows viewers to see three dimensional images and motion. The system requires only a computer, a projector, and common materials found at most hardware stores. This provides an affordable platform for artists to design compelling content that conveys information, narrative, and aesthetic information in a new way. Lumarca is a collaboration between Albert Hwang and Matt Parker.


The Life Garden

The Life Garden is an anti-cancer medicinal and demonstration garden. Currently on display are our first attempts at growing various plants and herbs indoors that commonly need outdoor space in various different climate zones. 

Currently in development are an anti-cancer kitchen survival kit, a hydroponic community-based version of the edible parts of the garden, a series of performative nutritional lectures, and cooking workshops combined Alchemy Fun & Development (AFD) activities. 



Dying for the Other is a video triptych addressing a situation of shared suffering involving mice used in breast cancer research, and humans afflicted with the same disease. In order to produce this video, da Costa documented scenes of her own life during the summer of 2011 and combined them with footage taken at a breast cancer research facility in New York City over the same time span.

Dying for the Other, is part of da Costa’s Cost of Life project series, currently being developed at Eyebeam and supported by the Creative Capital Foundation. 



Sharon Mizrahi, Eyebeam Project Description of Short Film

Make Stuff Get Famous (written and directed by Student Resident Sharon Mizrahi) is a short film in the truest sense of the phrase, capping in at a curt two minutes and twenty seconds. Initially conceived as a plot-based “New York drama,” the film evolved into a non-linear piece laced with rich, nearly literary symbolism. The high contrast, black-and-white video features two male characters (both played by Fellow Fran Ilich) in vastly different contexts. Richard, a suit-clad professional, is heard gently pleading with his son on the phone in Times Square between business calls, and Adrian, an introspective booze-guzzler, delivers impromptu philosophy on the Highline while taking swigs out of a paper bag. Through Richard and Adrian, two sides of the urban spectrum are explored: the iconic “skyscraper-and-lights” glamour, and the comparatively unremarkable lives of those who keep the city running.      

The film is punctuated with shots of “the other side” of Times Square: the ordinary slices of life lurking between exaggerated tourist smiles and blaring marquee ads for Domino’s Pizza. A voiceover of Richard pacifying his young son is paired with scenes of frustrated urbanites speed-walking to the subway, cheery Broadway ticket-sellers in outlandish costumes, and ever-present taxicab traffic. Somber-eyed and quietly dramatic, Highline drunkard Adrian provides a bizarre sense of reprieve from the inner-city chaos. In the leafy confines of Manhattan’s miles-long, elevated parks, he gives quaint but poignant reflections on cigarettes and the weather. 

Richard and Adrian live in wholly different urban worlds: the former, in the wildly affable core of New York City, and the latter, in the cozy confines of a mock-suburban park. Make Stuff Get Famous initially reads as a stark juxtaposition between high-impact city life and quiet solitude—but perhaps these two extremes are not as foreign as they appear. 


Eye To Eyebeam is a series on Eyebeam's residents and fellows. It includes interviews, photos, and other news and is authored by Eyebeam intern Katherine DiPierro. These interactive posts offer visitors the opportunity to learn more about Eyebeam's diverse community of creative practitioners.

Each week, you'll see interviews profiling individual Eyebeamers. Artists who have already engaged in conversation about their projects include:

Slava Balasanov
Nova Jiang

Maria Michails

Matt Parker

Carrie Mae Rose

Alan Sondheim
Mary Mattingly
Stefani Bardin

Alexander Chen

Mark Shepard

Beatriz da Costa


In the summer of 2011, Eyebeam Fellow Taeyoon Choi organized a tour to South Korean rivers in development with a group of five artists who are also fellows at Eyebeam Art and Technology Center in New York and about ten artists and activists from South Korea. The tour was designed in collaboration with an activist groups “Listen to the city” and lead by environmental activists and local communities, and hosted by Total Museum of Contemporary Art in Seoul. The purpose of the tour was to experience urbanization and river development in first hand and to initiate creative dialogue between international artists and activists to imagine alternative future of our relationship to the cities and natural resources. Through 6 day tour and other events that proceeded over the course of 10 days, the roadshow team learned a great deal about the issue, strategies of participation and the limits of translating cultural context.

Taeyoon Choi is working on documentation in multiple media (Animation and website) that will follow the journey, recreate conversations about issues raised during the tour and personal interests and memories. The document is an artistic research in a sense that the its purpose is not purely political or academic, but artistic in search of creative thought and conversations.



Ruins (Carcinomas) highlights breast cancer’s links to carcinogens in our everyday environment. Depicting fallen urban landscapes over-run with tumors, the pieces are based on breast cancer tumor forms, imaged and “digitally removed” through a special process devised by caraballo-farman, that combines Magnetic Resonance Imaging and rapid prototyping. The grey ‘support material’ used by 3D printers to build up a form is generally meant to be removed. But the artists used Eyebeam’s 3D printer in such a way as to maximize the architectural form of the printer’s support structures and then hacked at the structures to partially reveal the white tumor embedded.

The project was begun at Eyebeam after one of the artists was diagnosed with breast cancer. For most of the 1.3 million women in the world diagnosed every year, the tumor has no image. It’s an invisible malignancy. This prompted caraballo-farman to start their on-going project, Object Breast Cancer, as a way of exploring the tumor’s “image” in various registers.

The project has been supported by fellowships from the Guggenheim Foundation and New York Foundation for the Arts, residencies at Eyebeam Art and Technology Center, the Lower Manhattan Cultural Council and Art Omi, and assistance from Stratasys, Inc and NYU’s Advanced Media Studios. caraballo-farman have exhibited internationally in such venues as the Tate Modern, PS1/Moma and the Yerba Buena Center for The Arts.