Recent Projects


Camerautomata is a ‘Magical Image Digesting Duck’, made by hacking a digital camera, printer, vacuum cleaner, mp3 player and connecting them by a single microcontroller. The duck, Charlie travels to many tourists spots in New York City, takes a picture when it detects flash light from other camera, and prints them out or posts them on the Net via WIFI.  This project deals with automation and artificial intelligence, and human desire for technology to replace human labor.




First Person Perspective is a workshop and collaboration between artist Taeyoon Choi and San Jose youth to create a movie shot entirely in ‘first person perspective’ using DIY headcams made from recycled materials. We discussed about the unique role of first person perspective in the history of filmmaking, ranging from cinéma vérité documentary film to online user generated video. Participants took on the role of director, actor, cameraman and editor in order to develop their point of view about private and public spaces.




S*OIL is a human-powered interactive installation focusing on the industrialization of agriculture, biofuels and topsoil erosion. Mechanical and electronic systems are combined with living systems using experimental perennial food crops, video, and an electronically controlled irrigation system.  A mechanism in the likeness of a railway handcar that uses bicycle parts as a chain drive was built as the central object of interaction in the installation. These mechanisms were chosen for their historical and nostalgic references, linking industrial and natural processes while contrasting them with human consumption and expenditure. Participants operate the handcar to activate the installation by generating the electricity needed to power the pump and irrigation system, and videos. S*OIL is the largest work in the series The Handcar Projects.  For images of the other works in the series please visit the website For videos visit the vimeo site


This project has been made possible with the support of the Canada Council for the Arts and Eyebeam Art + Technology Center. 

Assistance with the project by Eyebeam Interns Alessandro Contini, Gabriella Levine and Danila Pellicani.




AUDiNT, short for “Audio Intelligence” is a collaborative, research team comprised of artists and scholars Steve Goodman, Toby Heys (Eyebeam Resident) and Jon Cohrs (Eyebeam Fellow). The Dead Record Office explores the historical and fictitious relationship between sound and warfare.

AUDiNT is adapting to the tactical battlefield of twenty-first century networks and capitalizing on their viral dynamics by systematically uploading the research archive they have compiled over the past 60 years probing the hauntological power of sonic weaponry. In opening the archive they hope to realize their new mandate of arming the public with sonic weaponry so that it does not become the sole preserve of the military-entertainment complex. With its dark science and sonically dissonant content, AUDiNT’s Dead Record Office is the location from which this viral transfer begins.



Ideogenetic Machine is an interactive installation that incorporates images of visitors to a gallery into an algorithmically generated comic book. The comic is created live through computer vision technology and custom software, using photos of the visitors and a database of drawings the artist has created. Since the beginning of 2011, the artist has been adding to a database of drawings that freely interpret daily news items. Through imaginative speculation, each news event is used as material to imagine a future either Dystopian or Utopian in tone.

Collaborators: Jake Jefferies, Matt Conlen, Sephiroth Li, Julia Lintern, Ireti Olowe


Figurative Drawing Device is a pantograph adapted for the purpose of making “portraiture”. Two people are needed to operate it. One stands against the wall, and the other traces his or her outline using one tip of a pantograph, creating a mechanically reduced silhouette. This project opens up the possibility of very physically involved collaboration between two people. It is an invitation to play, to be fully present, to be aware of each other.



The Creatomatic is a piece of software designed to accelerate the imagination and prompt new inventions. It works by randomly juxtaposing diagrams of two everyday objects from a selection of hundreds. Through free association, the two objects can prompt the invention of an entirely new object, which can be practical or nonsensical. Inspired by the accidental nature of creativity, the Creatomatic uses the technique of surprise to overcome habitual ways of thinking and short circuit rational control.

The Creatomatic is presented to the public in the form of workshops where participants learn how to freshen up their neurons and get their creative juices flowing by practicing the Creatomatic Method. The participants are guided step by step from the initial spark of inspiration through the iterative stages of prototyping in order to realize their inventions.

Supported by a grant from the Black Rock Arts Foundation

This video-note is about events that happened in Egypt in February of 2011 which I observed through various online media. The note argues that 1. Online media about the event inspires and affects crowd in networked space 2. However the ‘Networked crowd’ can only participate in the event passively, if they are limited in using those same online media which they got the information 3. Therefore online media brings revolution real time and expands crowd over the network, but it is still the collective bodies in public space that changes the society. Full text at Taeyoon's blog.


In 2010 the Diego de la Vega network made a certain amount of cash over Google Adsense. It was so little, yet in a way this represented the Gross Domestic Product of 2010 of the cooperative media conglomerate. In January 13 2011, ten thousand pixels (1/10,000) of a Digital Maoist Sunflower were coined and by democratic vote distributed the next day using a market socialist approach: allocating the pixels of a Digital Maoist Sunflower as budget for the Diego de la Vega enterprises, that way the collectivity made money and not the individuals directly. This 10,000 pixels represented a year in business, and thru the use of these, it was expected to generate sufficient trade to activate the virtual community economy and socialize the sunflower network coin.

Today the currency is called Digital Material Sunflower, and is a virtual currency backed up by inmaterial labor, alternative commodities, precious metals, and assorted global currencies, as such it is floating throughout the week. You can acquire DMS at Spacebank, which can be spent domestically on the network or invested at the Brooklyn Stock Exchange. For a reliable exchange rate we recommend the Currency Converter which comes by default on Apple computers dashboard.


Friday, July 15th - August 8th

In a city constantly moving forward and erasing its relationship with the past, Scenes from Last Week: W. 14th St. seeks to re-insert the past into the present. The work is a public art installation that uses video surveillance cameras and monitors in two storefronts directly across the street from each other on 218 and 225 14th st. Moniotrs facing the street show the current view the and the view from seven the previous days synchronized to the current moment, giving the passerby the chance to see the  recent history of where they are standing. The work creates a perceptual trip wire into the past, intended to reawaken our senses to the randomness and ritual in our daily environment.

Opening: Friday, July 15th from 6 - 8 pm @ 225 14th St. - Rags-A-GoGo

Art in Odd Places is a collaborative partner for this project.

Check out this video about the project from the version in midtown at the Roger Smith Hotel.

Check out hi-rez images or post your photos to sflw on flickr or twitter #sflw

Surveillance portraits a and b of people encountering/reacting to the work in midtown.