Post image for Art and Tech Nonprofit Eyebeam Announces 3-Year Move to Industry City, New Fellows

Leading arts and tech nonprofit Eyebeam has announced plans to move into a space in Brooklyn’s Industry City for roughly three years before relocating to an as-yet unbuilt space in downtown Brooklyn. The organization has also announced the recipients of its new two-year 2014/2015 Eyebeam Fellowships.

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Post image for Alice’s Technosurreal Wonderland

LOS ANGELES — “You would have to be half-mad to dream me up,” the Mad Hatter said to Alice during her romp through Wonderland, that place where her body and state-of-mind regularly changed shaped.

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Post image for Kill Your Phone: Artist Targets Surveillance

A Berlin-based conceptual artist artist, Aram Bartholl, has published a website to assist the craft-inclined and surveillance-averse in the making of their own Faraday cage pouch for their cellular telephones.

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Why Do Emoji Fascinate Us?

by Hrag Vartanian on December 13, 2013

Post image for Why Do Emoji Fascinate Us?

Last night’s opening of the Emoji Art and Design Show was a light-hearted celebration of those pictograms that have crept into our conversations and lives in every which way. The exhibition felt more design than art, and the pop-up marketplace featured a number of — you guessed it — emoji-related products.

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Post image for Art and Tech Nonprofit Eyebeam Is Moving to Brooklyn

Anyone who’s ever visited Eyebeam at its current home on West 21st Street knows that it’s something of the red-headed stepchild on the block. So maybe it’s just as well that the art and technology center is moving to Brooklyn.

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Post image for Even With Uncertain Future, Video_Dumbo Finds Refuge in Chelsea

After a year of absence, the annual video_dumbo festival has returned with a week of screenings and installations that have video art reflecting on itself. Last night, the central exhibition, Re-Return to Sender, opened at Eyebeam Art + Technology Center in Chelsea. While it’s now extracted from its former Brooklyn home, there is an ongoing installation running alongside at the Front Street gallery space of Dumbo Arts Center, which is continuing its participation in the event as a co-presenter this year.

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Post image for The Almost Anonymous of the Digital Art World

Remove Justin Bieber from your internet. Slice up subway posters for easy remixing. Mix LEGO, K’nex, and Lincoln Logs in an incestuous scramble of childhood toys. Star in your own guerrilla TED talk. Those are just a brief excerpt of the mischievous things an active viewer can accomplish at Eyebeam’s retrospective of the hacker-internet artist-new media graffiti collective F.A.T. Lab.

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Post image for After Sandy, Eyebeam Is Thriving

In late October 2012, three feet of water crashed through Eyebeam, a technology and new media non-profit located in a vast warehouse space on 26th Street in Chelsea. The ground floor location proved catastrophic as the flood poured over from the Hudson: Eyebeam sustained damage to just about every part of its operation, from studio space and galleries to the institution’s all-important archive, stored on vulnerable media formats like hard drives and storage cassettes.

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Post image for FAT Lab’s KATSU Graffities Paula Cooper Gallery (Inadvertently)

F.A.T. Gold, the mini retrospective celebrating art/hacker/open-source activist collective Free Art and Technology (F.A.T.) Lab, has been open for about 20 minutes at Eyebeam, and they’re already pissing people off.

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Post image for Reject Reality and Substitute Your Own: Using Augmented Reality as Art

Whether you like it or not, the digital invasion of Google Glasses is on its way, bringing the alternate world of augmented reality with it. As the late sci-fi author Philip K. Dick, who I really wish was here to react to the rapidly cyborg-like technology advances, forebodes in his 1978 essay “How to Build a Universe That Doesn’t Fall Apart Two Days Later”: “What is real? Because unceasingly we are bombarded with pseudorealities manufactured by very sophisticated people using very sophisticated electronic mechanisms. I do not distrust their motives; I distrust their power. They have a lot of it. And it is an astonishing power: that of creating whole universes, universes of the mind. I ought to know. I do the same thing.”

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