visual (7)

Berlin-based collective StratoFyzika is currently in residency at Lake Studios Berlin as part of the DanceTech AIR, under the mentorship of Isadora creator Mark Coniglio. As we continue developing our latest project, Phi, we will continue to blog about the process.

Daria (dancer/choreographer):

We're at the point of putting it all together, finding transitions between sections, or conversely, non-transitions (this would be like a blunt change of thematic direction with no legible attempt at a smooth segue). It's interesting to me how the piece can start to become the transitions, and vice versa. That is, how a sharp, sudden shift in tone (resulting from one of these 'non-transitions') can start to inform the structure and meaning of the whole work. For instance, without giving away too much, we're playing with sharp, surprising shifts in lighting to help define segues and lead to what we know as a new section (though the audience, of course, won't necessarily read it that way). As we experiment, I am reminded of just how much lighting – such as a simple on/off – shapes and changes my perception of space and time. Particularly as an audience member attending a performance, sitting in darkness while watching a highly lit area, when the stage lights go off, you are literally blinded, nowhere and nowhen. It can feel like an eloquent palette cleanser, or a disorientng goof, depending on how you use it. Regardless, it always makes me suddenly and irrevocably aware of myself and my body, because that is all I can sense in that moment. So then that dislocation, especially if you use it repeatedly, becomes a palpable feature of the piece.

Movement-wise, I'm starting to settle into it more, to better understand how I physically inhabit it. Formally, this piece can be quite complex. One section in particular is structured very intricately and requires constant counting, but the counts and rhythms between Hen and I alternately go in and out of sync, so I have to be careful not to get so caught up in her timing that I lose all track of my own, or conversely, to become so self-focused that I miss those moments of synchronicity with her. It's a delicate balancing act between autonomy and connectivity. Likewise, the ceaseless counting can start to bind me physically, so I have to remember to find release and abandon within the control, something I think every artist can relate to.  

Ale (visual and lighting designer):

Keywords for the lighting work are 





time shift








The lighting transforms the stage during the entire performance into an architectural machine . Four stage lights are positioned at the 4 highest corners of the stage, while two projectors are on the ground along two opposite sides of that same square. Playing with the different nature of PAR cans lights and projection, we aim to find interesting ways to reveal the bodies and tell their movement .

From the very beginning of our work on Phi, lighting sound and movement have been developed in parallel. This kind of workflow has been very satisfying in the way every small progress in one of the fields inspires unexpected approaches to the other two.

One of the very first ideas was using quick flashes to highlight small portions of the bodies. This way we could reconstruct the choreography by showing/hiding, putting together small chunks of the original movement and giving it another shape. We could easily notice, during these tests, how the body transformed into a composition of many other bodies while being sculpted and dissolved.

The flashing, coming from different directions, was particularly disorienting when seen from the static point of view of the audience and these body chunks, once immersed into that specific space/time environment, were opening up to new possibilities and interpretations.

When we met again at Cultivamos Cultura (Sao Luis, Portugal) for the first residency, watching an updated version of the choreography where the different materials were coming together in the shape of real sections inspired me to push this flashing idea further. As the simple body movements were chasing each other in repetition and variation, the lighting score could lose its spatial randomness and start following a circular path ( the one of a loop ). This way the stage became a rotating reference frame in which the perception of said repetitiveness could be distorted by speeding up and down this visual looping reference clock.

4 lights at the 4 edges, fading in and out one after the other, as to give a key to read the inner repetition happening in the movement. As your perception of the motion of a train changes if you are you sitting on another train moving in parallel to the first one.

The idea of having an audience on two sides came when we were brainstorming about lighting positions in relationship to choreographic pathways. As we noticed it could be interesting offering two simultaneous points of view, the movement was redistributed in the space according to that, and we added to the set-up two projectors pointing towards the center of the stage from opposite sides .

The use of projectors makes it possible to work at higher speeds, and the character of their light beam, combined with a fog machine,  is able to fill the space with solid dense physical light. The space surrounding the stage disappears in the dark. While the dancers move through it, they pierce that material and phase in and out with a backlight - frontlight repetition game .This particular lighting suddenly brings the audience way closer to the performers, creating a much more intimate environment.


For this piece we decided to win some time using already-assembled sensors systems by x-io technologies, rather than starting from scratch and design our own as we did in the past.

The two sensing units, one for each dancer, are equipped with accelerometer, gyroscope and magnetometer. We are currently experimenting with calculations between these data to be able to extract interesting values to be used to control properties of light and sound.  An interesting approach could be calculating difference values between the two body movements, to be able to highlight the phasing out that gradually happens after a unison.


(Anthony McCall´s work inspired the use of projectors and fog to create physical lighting dimensions).

12249581265?profile=original(Photo edit of Daria Kaufman in rehearsal for Phi)


(Schematic of lighting trajectories in Phi)

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WANTED: FEMALE ACTORS with movement skills or DANCERS with

acting skills, FOR ELENA BAJO'S PERFORMANCE With Entheogenic

Intent (Burn the Witch) AT 18TH STREET ARTS CENTER, LOS



The piece is created by Elena Bajo, a visual artist who has exhibited

internationally and focuses on the social, political aspects of the site in the

city of Los Angeles. Bajo combines performance with large scale

installations to investigate the political and social conditions of change in

post-industrial structures, creating site specific work and a space of

collective action.

The performers will be required to perform in the space of 18th Street Arts

Center. They will be required to do both improvised and choreographed

script/movements determined before hand with the artist. The generator

of the piece is a political text/poem. This political text-manifesto will be

handed to the performers and it will be used to generate their individual

script/choreography. Total duration of the performance around 20 min.


3 days, total: 2 days (1h/day) one on one individual work with the

artist and 1 day (1h/day) run-through in the space with all performers

If you are interested in this project please send ASAP an email to including a web link to video file where your work

can be seen , one image and a brief bio/cv. Express very briefly why you

want to participate in the project. You will be contacted by email to

proceed forward. If you don't have a link to video online let me know and

Ithe artist would send you a text fragment to prepare something short 1-2

min that you could record in Skype or video camera or iphone.

For your participation you will receive a small fee, copy of video footage

and photos of the performance as well as credits in the program. This is

an event widely advertised and expected to be a good exposure. Please

only apply if you are interested in being part of an experimental piece,

outside of the comfort zone, that is the spirit of this project.

More information about Elena Bajo’s work:

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PISO proyecto

12249538886?profile=originalPISO como plataforma de la improvisacion


en plancha HOY martes 24, 1:30 Inter Metro, Puerto Rico


en plancha este  jueves 26 en el lote, Cinema Paradiso en la calle Loiza, Puerto Rico

junto a los estudiantes y profesoras del Departamento de Arquitectura de la Politecnica.


como plataforma para la improvisacion:en la Trienal. 28 abril hasta agosto 2012.

Arsenal de la Puntilla, VSJ, Puerto Rico


en plancha, en un espacio performativo: DanceSpace Project, NYC, mayo 19, 2012


en plancha fuera del area metro este verano 2012, Puerto Rico.



aun esperamos por nuestra primera respuesta afirmativa a varias propuestas que hemos solicitado



esta es una manera de apoyar este proyecto AHORA.






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Visualizing Dance Archives is a research and development project aimed at creating a 3D animation software for dance and choreography.The goal of this project is to develop a new unique software, which provides the possibility to access historic static sources and to translate their referentiality into visuality, thus revealing its motoric and kinetic aspects. The new computer application will aid research in reconstructing dance by creating animated movement sequences. It will allow to transfer movement content from a variety of sources into a visual, three-dimensional representation. The researcher will be given a great amount of flexibility, offering a wide range of possibilities and choices to connect visualized body postures to movement phrases.


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Hiroaki Umeda is a multitasking artist… he enjoys dancing, choreographing, making videos, messin’ up with light & stage design, mixin’ soundz, writing a blog, working on site specific projectz, enjoying the nature… and he is definitely not a ghost in the shell but a real man!

Hiroaki Umeda was a photography student at the Nihon University in Tokyo, then suddenly at the age of 20 he realized that he’s more into moveable thingz… he took ballet and hip hop classes… and begun to work on his own solo pieces… in year 2000 he founded a company entitled S20 with whom he has produced till now 5 dance pieces: Ni (2001), while going to a condition (2002), Looming (2003) and Finore (2003), Accumulated Layout (2007), Duo - new version (2008).

He’s been known as a performer using heavily technology in his artworkz, therefore Hiroaki Umeda was a guest at many cutting-edge festivals related either with dance or contemporary art such as: Japan Dance Festival (Korea), KunstenFESTIVALdesArts (Belgium), Yokohama Dance Collection (Japan), Uovo e Contemporanea (Italy), FIND Festival (Canada) etc.Last year he was an artist-in-residence at the Chaufferie which is Philippe Decouflé’s rehearsal space, and the result was his newest performance ‘Accumulated Layout’.

Hiroaki Umeda attacks all your physical and mental senses with light and soundz. He uses subtle electronica and ambient sound (some soundz are even at the edges of music concrete) simply to pull you into his world… but he never let you go…The stage design is totally zen: pure minimalism… with dancer in the middle, but it’s not set up as a ‘saint’ persona in the middle of a stage altar… he is your guide… but not a dictator…

Having such a clear vision of space means that he has to be completely self-confident in order to maintain body&mind related focus…His movements and choreography are based on strong, fast, energetic, snatched movements which you can label as ‘hiroaki umeda language’, influenced by street art performative forms and highly tensive stillness he borrowed from butoh and ballet… and he is sooo good in it… a perfect mix… he is like a DJ asking himself ‘where is the pain?’, the answer is: everywhere!… but Umeda finds his way to challenge it…It’s interesting how he is managing and combining those different forms of expressiveness…Read the rest of the post on Personal Cyber Botanica:
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I Believe In by Ai-Chen Lin

I Believe In… by Ai-Chen Lin, selected project for Interactivos? Better than the Real Thing

There’s a party in the warehouse: Would you like to come?

Upcoming events: It all depends on who you ask. Some of us are getting ready for the latest MIXER party on June 14, others are preparing for the end of the world. Good news: You can do both!

This Week at Eyebeam:

May 31: Interactivos? Call for Collaborators

June 14: MIXER: with Kudu | BiLLLL$ | The Collection Agency

New from our Labs:

Steve Lambert launches Add-Art

Teta Haniya and the Secrets of Syrian Seduction

Pocket Lightcoder


May 31: Graffiti Research Lab at the Brooklyn Academy of Music

June 1: How Soon is Now?

June 4: 01SJ Adobe Global Youth Voices Exhibition

June 14: Windows Brooklyn

May 31: Interactivos? Call for Collaborators

Interactivos? at Eyebeam: Better Than the Real Thing
Date: June 26 – August 9
May 30: Call for Collaborators deadline | June 3: Notification of acceptance

We’re pleased to announce that we (Eyebeam fellows, residents and staff) have selected ten projects—from the 60-plus submitted applications—to be realized during a two-week workshop in late June.

But we need help, and that’s where you come in. We are now recruiting collaborators—artists, engineers, musicians, programmers, designers, and hackers—to help bring these projects to life. This is an opportunity to work with international artists including current Eyebeamers Zachary Lieberman, Taeyoon Choi, Jeff Crouse, Friedrich Kirschner, and others. Collaborators will participate in skill-based workshops, attend public lectures and associated events, and be an integral part of the production of exciting new interactive projects. The completed projects will be included in Eyebeam’s Summer 2008 exhibition.

To be considered, send us a letter outlining your skill set and what you think you could contribute to the workshops, with a CV (in word or pdf format; no image attachments please) to interactivosinfo AT eyebeam DOT org by May 31. Selected collaborators will be notified June 3.

Interactivos? was initiated two years ago by the Medialab–Prado program and the Madrid City Council. This is the first time it has taken place outside Spain.

The full list of projects, with details on the kind of collaborative help we are looking for can be found online. See:


June 14: MIXER: with Kudu | BiLLLL$ | The Collection Agency


Date: Saturday, June 14, 9PM – Midnight
Location: Eyebeam, 540 W. 21st St., NYC

Open bar! Sponsored by Dewar’s, Newcastle Brown Ale, and The Onion.

Kudu | BiLLLL$ featuring Guillermo E. Brown | The Collection Agency

Plus interactive art by Eyebeam artists: Addie Wagenknecht | Friedrich Kirschner | Digital Solutions | Geraldine Juárez

MIXER is Eyebeam’s new series dedicated to showcasing leading performing artists in the fields of live video and audio. In addition to live performances by video artists, musicians, VJs and DJs, each MIXER presents new interactive work by Eyebeam artists that encourages audience participation and creative play. Hybrid in format, and Eyebeam in spirit—collaborative, spontaneous and a little off-the-wall—MIXER electrifies Eyebeam’s Chelsea warehouse for a Saturday night quite unlike any other.


New from our Labs

Steve Lambert launches Add-Art


Add-Art is a free Firefox add-on that replaces advertising on websites with curated art images. Created as a open source project in Eyebeam’s R&D OpenLab, developers are encouraged to contribute to the project though Eyebeam’s development site (which includes a wiki, ticket system, and code repository). For more info:

For a video introducing Add-Art, with installation directions, see:

Steve is also hosting a remix contest:


Teta Haniya and the Secrets of Syrian Seduction

Syrian Lingerie by Ayah Bdeir

After decades of running her kinky Syrian lingerie store in the Hamidiya souk of Damascus, Teta Haniya has arrived in America bearing gifts. Drawing on more than 60 years of Islamic teachings on seduction, and updating it using her arsenal of kitschy technology, Teta Haniya hijacks the Western panty, triggering the sexual liberation of American women.

Teta Haniya’s Secrets is a line of electronic lingerie made by Eyebeam R&D OpenLab fellow Ayah Bdeir and graphic designer Luma Shihabeldine. See pictures and videos of Teta Haniya’s Secrets (including the flying panty, ponpon panty, fiberoptic panty, talking panty, magnet panty), from last week’s event on wearable technology at Eyebeam:


Pocket Lightcoder

Lightcoder by Jerry Juarez

Digital communication relies on the performance of networks of infrastructure that enable the transmission of messages. In the event of a massive breakdown of these networks in a natural disaster or social crisis, how will we transmit information?

Have no fear: Eyebeam senior fellow Jerry Juárez has designed a new tool for the end of the world: The Pocket Lightcoder, a rebozo-style bag and communication device to explore the possibilities of survival in an urban environment. There are only a few Pocket Lightcoders left, so if you need one for your survival kit or want to find out more about her upcoming “light-mobs”, shoot her an email at: .---- . .-. .-.



May 31: Graffiti Research Lab at the Brooklyn Academy of Music

The Graffiti Research Lab will be tagging the side of the Brooklyn Academy of Music’s Peter J. Sharp Building on May 31 to coincide with the midnight screening of the documentary Graffiti Research Lab: The First Season. The GRL events are part of the Sundance Series at BAM from May 29 to June 8.

For a complete schedule of events:


June 1: How Soon is Now?

How Soon is Now?
Date: June 1 – August 18
Open House: 2 – 6PM, Sunday, June 1
Location: The Bronx Museum of the Arts, 1040 Grand Concourse, Bronx

Eyebeam alum Luke Lamborn will show three new videos made during his residency at Eyebeam at this year’s Artist in the Marketplace exhibit at The Bronx Museum of the Arts. How Soon Is Now? features an array of work by 36 artists from Artist in the Marketplace (AIM), one of the most celebrated and competitive programs for emerging artists in the country.

For more information, visit:


June 4: 01SJ Adobe Global Youth Voices Exhibition

Date: June 4 – 8, 2008

Liz Slagus, Eyebeam’s Director of Education and Public Programs, is heading out to the 2008 01SJ “global festival of art on the edge”, June 4 – 8 to produce the Adobe Global Youth Voices Exhibition.

Designed to enable youth worldwide to examine critical community issues, share their views, and take action, this project has funded 18 different international artists, art collectives, and established non-profit arts organizations and institutions to support the creation of new work by young digital artists. The project culminates in an exhibition of their work during the 01SJ Festival; selected works from the Adobe Youth Voices global network will also be on display.


June 14: Windows Brooklyn

Opening Reception: June 14, 3 – 5PM, cash bar
Location: Sam’s Restaurant, 238 Court St., Brooklyn

Art Walk
Date: June 22, 3 – 5PM
Location: Various

Closing Reception: June 22, 6PM
Location: Carroll Park (entrance on President between Smith and Court St., Brooklyn), closing performance by Maya Pyndick and Fletcher Boote

Windows Brooklyn is an art exhibition that will be installed in numerous storefronts along Court and Smith Streets in Carroll Gardens and Cobble Hill, Brooklyn from June 14 – 22, 2008.

Participating artists include: Eyebeam alum Leah Gauthier, and many more! Windows Brooklyn is curated by Leah Gauthier, Sara Jones and Andrea Wenglowskyj. All three curators are graduates of the School of the Museum of Fine Arts, Boston and are long-time collaborators.

Visit for a full list of participating storefronts and artists, schedule of events, printable map of the area and more.


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