Emilio Vavarella
Works in New York City United States of America

Emilio Vavarella was born in Monfalcone (Italy) in 1989. His artistic practice focuses on political philosophy and contemporary technological power with a particular emphasis on the aesthetics of error, subjectivity, mediated identity, biopolitics and social control. His work is informed by his studies on the history of conceptual art, digital and network culture, and new media practices. Through the use of new media he highlights the ambiguous spaces of power, such as unexpected errors and unpredictability. He believes that by doing so, the intrinsic logic and hidden structures of power are revealed and an intellectual resistance is formed.

As an artist, he has collaborated with engineers to produce new software to take pictures of the shape of information inside his computer, has worked with errors in Google Street View technology, has investigated the possibilities of error in Facebook’s facial recognition technology and has written memories into the ASCII code of vintage family photos, altering the images in a new and unpredictable way. More recently, he has focused on creating multimedia immersive installations with glitched holograms of Italian cities, altered by human memories.

In 2013, he completed with honors his M.F.A from Iuav University of Venice with a thesis on Error and Metamorphosis in New Media Art. He has also studied art in Sicily and Barcelona, and completed with honors a B.A. in Art History, Criticism and Methodology at the University of Bologna. This past year, he spent four months in Tel Aviv at Bezalel Academy of Arts’ studio residency program and four months at Bilgi University of Istanbul.

Emilio’s work has been shown internationally and he has participated in a number of conferences and festivals and has won several prizes and fellowships. Most notably, he has recently exhibited at Eyebeam Art and Technology Center, GLITCH Festival, Fondazione Bevilacqua La Masa, Mediterranea16 – Young Artists Biennial, Fondazione Studio Marangoni, Boston Cyberarts Gallery, Jarach Gallery, and the Museum of Contemporary Art Vojvodina. Images and texts from his work and exhibitions have been published in: Flash Art, il Giornale dell’Arte, WIRED, The Wall Street Journal, The Huffington Post, The Verge, The Creators Project, Mashable, DIGICULT, Daily Mail, El Paìs, laRepubblica, MOUSSE, Hyperallergic, ANIMAL, Artribune, Exibart, and The Collector Tribune, among others. He currently lives and works in New York.
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Writing Internship for Harvestworks Digital Media Arts Center

Sat Apr 12, 2014 00:00

New York City, New York
United States of America

Harvestworks offers several internships, in return for time worked, interns can enroll without charge in our internationally acclaimed classes, gain teaching experience through our “Interns Teach Interns” initiative, and receive access to lab equipment free of charge. Individual arrangements (e.g. in compliance with the requirements of your school) up to a full-time position, or positions for credit, can be made if necessary.

We’re looking for a new intern who has writing experience and an interest in art/technology. The ideal intern will be great at finding new and useful content from around the web that would be of interest to the Harvestworks audience (e.g. new music, new media art, sound art, hacks, performance videos, new technologies and software, Internet culture, etc. …). The intern will then be in charge of daily blog posts, but will also have the opportunity to work on Harvestworks projects and performances.

Besides having excellent written English and a passion for art and technology, this intern should also have these qualities:

- Strong work ethic and loyalty
- Attention to detail
- Attention to project deadlines
- The ability to work both independently and as part of a team
- A flexible schedule

Work from distance is not a problem but we strongly encourage NY-based people to meet at Harvestworks and become part of the community.

We’d like the ideal candidate to write around 4 short posts per day (150-300 words). We will usually provide 2 links a day related to Harvestworks activities, but the candidate should and will be able to find their own material to write about. The blog will be the core of a wider social media strategy that will include all our other media platforms: Facebook, Twitter, Youtube, Flickr, Tumblr.

Ideal writers should already be active on social media platforms. We are looking for writers who are willing to build on our existing platform to connect and grow their audience as they develop their personal and professional skills, learn about art and technology, and become part of a larger art community. Most importantly, their passion must show through!

How to apply:
Please contact arterelazionale@gmail.com with:
- A cover letter including a brief summary of yourself
- A brief summary of your experience and/or a brief summary of what you feel you can bring to the team
- Resume


[Apr 5/6] Sonic Archaeology Workshop at Harvestworks

Sat Apr 05, 2014 12:00 - Sun Apr 06, 2014

New York, New York
United States of America

The workshop will equip participants with a range of practical techniques for audible, forensic examination of both the material and immaterial. A series of experimental situations will be constructed, investigating materials through audible excitation, transformation and detection including ultrasound, light modulation, surface playback, and electrochemistry. The workshop will also examine classical techniques for the study of electronic voice phenomena (EVP), and suggest new detection strategies.

[Apr 5/6] Sonic Archaeology

Martin Howse Sat/Sun April 5 + 6, 12 noon to 7pm
Cost: regular $190, student/member $165

Pay with PayPal or Credit Card on our Payment Page here

…plus $25 in materials cost for scratcher/radio transmitter, coil pickup, audio amplifier - bring in CASH to the workshop!


596 Broadway, #602 | New York, NY 10012Phone: 212-431-1130

The pick was [then] used to hammer on the surface, and by this means, the Angle Ditch was discovered. The sound produced by hammering on an excavated part is much deeper than on an undisturbed surface, a circumstance worth knowing when exploring a grass-grown downland, though not applicable to cultivated ground.
– [Augustus Pitt Rivers. Excavations in Cranborne Chase. Volume IV. 1895]

Sound or noise can be conceived as the expression of material undergoing specific physical stresses. As the earth is tapped with the back of the shovel, or as the cast metals of rail tracks are subjected to immense forces by the wheels of an arriving high speed train, information is revealed concerning the often less than visible strains and molecular interactions of the material world. It’s a strictly epistemological investigation, equally providing forensic material concerning an immaterial, invisible world; material for a certain psychic detective seeking to make sense of the world. Following Pitt Rivers, this sonic archaeology can be summarised as excitation followed by detection. The workshop aims to equip the potential sonic archaeologist with a range of DIY techniques for forensic examination of the material and immaterial.

During the workshop participants will learn how to:

- practically stage classical EVP detection experiments (Juergenson, Raudive and beyond) - construct a quantum metaphase typewriter for communication with parallel worlds - build devices to play back and decode surface marks and inscriptions - make audible fluctuations in laser light and electrochemical reactions - translate ultrasonic impulses to the audio range - work with the active construction and detection of electromagnetic emissions - conduct experiments in psychokinesis

What to bring:

We recommend that participants bring along some form of recording, inscribing, or transcribing devices (tape or digital audio recorder, camera, film, pencil, paper, and so on). Headphones are also useful to bring! All other materials will be supplied and are included in the registration fee.


The interdisciplinary work of Martin Howse is pre-occupied with a broad questioning of the exact location of execution and of code within the world (psychogeophysics). Through the construction of experimental situations (within process-driven performance, laboratories, walks, and workshops), material art works and texts, Martin Howse explores the rich links between substance or materials and execution or protocol, excavating issues of visibility and of hiding within the world. Since 1998, Martin Howse has published, workshopped, performed and exhibited worldwide.




Meet the Artists: Sabine Gruffat + Paul Geluso: A Kiss of The Earth at Harvestworks

Fri Mar 07, 2014 17:00 - Fri Mar 07, 2014

New York, New York
United States of America

Kiss of the Earth's creators Gruffat and Geluso will be available at Harvestworks on Friday March 7 at 5 pm, for an informal session on the creation of this installation. This project is made possible in part with public funds from NYSCA’s' Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes (www.nysca.org - www.earts.org).

Sabine Gruffat is a digital media artist and filmmaker living and working in North Carolina. Currently she is Assistant Professor of Art at the University of North Carolina- Chapel Hill. Sabine’s films and videos have screened at festivals worldwide including the Image Forum Festival in Japan, The Ann Arbor Film Festival and Migrating Forms in New York. Her feature film I Have Always Been A Dreamer has screened internationally including at the Viennale, MoMA, and The Copenhagen International Documentary Film Festival. She has also produced digital media works for public spaces as well as interactive installations that have been shown at the Zolla Lieberman Gallery in Chicago, Art In General, Devotion Gallery, PS1 Contemporary Art Museum, and Hudson Franklin in New York.

Paul Geluso is a New York based sound recordist, engineer, composer, and musician. Working with artists who use sound as a creative medium, he has designed unique sound processing and playback systems as well as composed music and sound scores for live performances and sound installations. His collaborative works have been presented at major art institutions internationally and he has credited on hundreds of commercially released music titles and Film/Video soundtracks. Paul is currently on the full-time Music Technology faculty at New York University in the Department of Music and Performing Arts Professions. His primary area of research is 3D audio recording techniques, processing, and playback systems.


SoHo Night – at Harvestworks and multiple other venues

Thu Mar 06, 2014 18:00 - Thu Mar 06, 2014

New York
United States of America

This year’s SoHo Night will take place at The Renee and Chaim Gross Foundation, Harvestworks, Recess, Dia, Drawing Center, CityArts at Thompson Street Park, and the Storefront for Art & Architecture. Harvestworks will present A Kiss of the Earth, a responsive three-screen computer-animated video and sound installation by Sabine Gruffat and Paul Geluso. Thursday from 6 to 9 pm!


[Feb 15/16] Exploring Audio in OpenFrameworks

Sat Feb 15, 2014 12:00 - Sun Feb 16, 2014

New York, New York
United States of America

Learn to program rich interactive audio applications. A workshop for those who love sound, music, and computing. Put away your patch cords and see how it feels to type a signal chain.

[Feb 15/16] Exploring Audio in OpenFrameworks

Jason Levine
Sat/Sun, Feb 15+16, noon to 6pm
Cost: regular $225, student/member $200

596 Broadway, #602 | New York, NY 10012 | Phone: 212-431-1130
Subway: F/M/D/B Broadway/Lafayette, R Prince, 6 Bleeker

For Mac OS X only!

This two day workshop will acquaint participants with the glorious fusion of audio units with openframeworks.

About audio units/core audio

The Audio Unit Framework is a Mac OS X architecture for audio plugins similar to VST. Audio Units can be audio file players, effects(like delay or filter), samplers, synths, mixers, audio input/output and more. Audio Units can be chained to together to create a signal chain ( or graph ). Every Mac comes with a selection of basic audio units and many more can be downloaded for free or purchased. Normally, people experience audio units in the context of another program such as Logic Pro, Garageband, or Ableton. Futhermore, nearly every app that uses interactive sound, desktop or mobile, is using audio units under the hood. In the this class we will learn to program our own interactive sound/music apps .

About openframeworks

openframeworks audio unitsopenframeworks is an open source C++ library created for the purpose of empowering artists and creators. It allows artists to express themselves through the exploration and manipulation of the data inside digital media at the deepest level. At the core, OF allows users to easily manipulate graphics, images, audio, video, and type. OF also comes with a set of core addons that allows users to work with 3D models, networking, computer vision, OSC, vector graphics, and XML. This is but the tip of the iceberg. At last count there were 1046 3rd party addons making OF a truly versatile and current tool. Much more than just a set of c++ libraries and addons, openframeworks has a rich community here in NYC, online, and around the world. Active forums and constant development make openframeworks a truly exciting project to be a part of.


How they fit together

Core audio is known for its high level of difficulty and steep learning curve while openframeworks is known for its ease of use and for being easy to jump into. Its almost impossible to imagine how they could work together…. Lucky for us, @admsyn created ofxAudioUnit, a well-documented addon that allows OF users to easily use the audio unit framework without dealing with inner complexities of the audio unit framework! Both OF and AUs run on iOS so any app you create on your desktop can be compiled to run on iOS with minimal changes.

Combining AUs with OF is perfect for creating musical instruments with novel controllers, generative music, interactive music playback systems, audio-reactive visuals, and of course experimental sound art.

Participants will start by learning to load audio units into OF. We will study three sound sources: audio file players, audio input, and sampler/synths. We will build signal chains by adding effects to these sound sources, and then use mixers to control the flow of sound. Participants will learn to control the parameters of each unit and to programmatically send midi messages to sampler/synths. Finally, we will get the waveform data, the RMS amplitude, the dB, and the FFT of signals passing through that signal chain, and make simple visualizations of these values. If time allows we may delve into some basic algorithms and data structures for making music.

Programming background and love of music is required. Students must bring headphones. Sadly, audio units only run on Mac OS X. Sorry Linux and Windows users :-( I will offer a cross-platform OF + audio class in the near future :-)

Jason Levine

Jason Levine is a musician, performer, and creative coder. On a mission to bridge different artistic disciplines, he sees computation as a universal language for translating and communicating between different mediums. Inspired by improvisation, Jason focuses on the interactive and generative qualities of coding to create real-time software systems for live performance. He recently attended the first ever semester of the School for Poetic Computation, a project initiated by Zach Lieberman, one of the co-founders of openframeworks.

Jason has worked extensively as a beatboxer/vocalist accompanying circus shows, street theatre, and contemporary dance. This work has been presented notably at Siguientescena(Mexico), Danza-UNAM(Mexico), Pflasterspektakel(Austria), and at the Montreal International Jazz Festival. His work fusing performance and code has been presented at ART&&CODE:3D(USA), Piksel(Norway), Carnival for e-Creativity(India), Festival de la Imagen(Colombia), and Festival Eklectik(Montreal). Most recently, Jason has worked as a freelance creative coder, designing interactive visuals for Eryc Taylor Dance, generative art apps for Fragile Tension LLC, prototyping Kinect interactions for Harmonix’s new game Fantasia:Music Evolved, and directing a music video for upcoming electronic artist Alarke. He is currently working on an interactive audiovisual system for the CLOUDS documentary.