Invisible City

the Newtek Toaster was an analog/digital fx unit that
was widely used 15 years ago. it's possible to recreate
the fx in digital with some degree of accuracy. that's
what's going on here. I write with a 'slight fever'
brought on by who knows what. the result is Invisible
City which reverts the real back into the layering of
Second Life. the city dissolves, or rather the always
already dissolved city is reeled back into the apparent.
I insist this is the truth of the city, that everything
else is fiction. my insistence is performative.


Yesterday we went downtown to the African Burial Ground national monument, the court buildings, the bollards and barriers to street traffic in the financial district, Occupy Wall Street, 60 Wall Street, and Maiden Lane; Mark Shepard wrote the trip up for the Urban Research blog. The following was my response; I wasn't able to publish it directly. It might be of interest to others as well:

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.

Project Created: 
October 2011


oud recorded with TC-152 SD Sony recorder (first professional cassette
machine, 1973), using Realistic Stereo Electret-1 microphone 33-919A,
early (date unknown).

3 pieces. there's a glitch in the cables resulting in a mix of static
and odd digital limiter behavior that adds to the recording. there's
no audible wow or flutter in the capstans. you can hear capacitance
changes as a result of static buildup perhaps related to an imperfect
connection; the tape plays back perfectly on the recording machine.

there's an urgency in the voice of the oud making itself heard within,
not above, the fray. i think the problem is in the analog/digital
interface. the TC-152SD was manufactured with specially hardened tape-
heads that haven't been duplicated.


After the first month, we are 31% funded on the 13-foot-high Gift Horse for the 01SJ Biennial. A good initial run, but its starting to feel a little tight, so please consider a Kickstarter donation to the Gift Horse project.


We have been busy working on the internal structure and final models in Sketchup. The skeleton proved to be an advanced wood project since the exterior printed digital panels (see model above) will be exactly fitted to make it look like giant-sized 3D model of a horse.


Art is evolving. In all forms. There’s no question that things have changed for music and literature, and will continue to shift as new technologies come to fruition.

image courtesy of IAMAS

Eyebeam CV
2005FExhibiting Artist
2003FExhibiting Artist
Tags: digital, led, sound

Eunjung Hwang's installations incorporate animation with sound, sculptural and mechanical elements. Often LCD panels of animations extend into wall paintings and into sculptures that project from the wall and floor. Fabulous Creatures explores unexorcised images from the world of dreams and infantry following them to their farthest points, with a combination of digital and physical form.

Hwang is a multimedia artist living and working in New York. Her work has been screened at the Korea Short Animation Festival, Japan Digital Animation Festival, and Barcelona Asian Film Festival, among others. She is a graduate of the Computer Art MFA program at the School of Visual Arts in New York. She has also studied painting at Ewha Women's University and literature at Yonsei University, both in Seoul. She has upcoming exhibitions at Recontres Internationales Paris/Berlin and the 16th Stuttgarter Filmwinter-Festival for Expanded Media.

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