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: ARTFORUM, Flash Art, il Giornale dell’Arte, WIRED, The Wall Street Journal, The Huffington Post, The Verge, Furtherfield, The Creators Project, Mashable, DIGICULT, Daily Mail, El Paìs, laRepubblica, MOUSSE, Hyperallergic, ANIMAL, Artribune, and The Collector Tribune, among others. He currently lives and works in New York.
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Visual Instruments & Code ONLINE course

Wed Apr 30, 2014 00:00

New York City, New York
United States of America

Visual Instruments is a 5-week online course on how to create your own customized VJ software in Processing. We will craft personal, playable, and interactive graphics to be used for music, theater, dance, and many other performance contexts, as well as construct instruments for their creative playback, curation, and manipulation.

Location: This class is held online, you need to have internet connection to watch videos and engage in the forums. Shortly before the class starts you will get a link with further instructions how to take part in it.

Cost: $275 (members + students) $300 (regular)

In collaboration with Tenlegs, a network for artists to connect, collaborate, earn and learn, Harvestworks offers this class as part of it’s online TEAMLab class program. Online means that anyone – and in any timezone – can take it and make it work with your schedule. Initially and throughout the course you’ll have access to video lectures created specifically for this workshop, a series of hands-on challenges meant to give you experience building your own artworks, and live sessions to ask questions, get answers, and go deeper with the material.

The class will run five weeks. Video lectures will be released once a week, to be watched on the students own time. There are no mandatory days to be available, as long as you are able to keep up with the new material each week.

“Visual Instruments” is a 5-week ONLINE class on how to create your own customized VJ software. We will learn how to design and implement our own original, expressive live visuals to be played and interacted with in real-time for music, theater, dance, and performance arts. We will focus on the manipulation creative playback of images and movies, and the crafting of physical instruments (using MIDI, Osc, and others) to control and curate them in real-time.

The course is designed for those who wish to create VJing programs with a high degree of control, customization, and originality, for which existing high-level VJing software is lacking. It is aimed at both intermediate and complete beginners to programming, and includes supplementary materials for those who have little or no prior programming experience. We will be programming using the Processing language.

By the end of this 5-week course, you will have your own performance-ready set of visual instrument software!


Week 1: Crash course for beginners to programming and the Processing language. Programming concepts, creating graphics onto the canvas, working with data, and basic interactivity

Week 2: Working with images — displaying, loading from the web, tints and filters, transparency and alpha masks, pixel effects, cutting/pasting and arranging

Week 3: Working with movies — playback and scratching, masking, blending and mixing, green screening, filtering and content manipulation

Week 4: Control — parameters and triggers, easing, input devices, MIDI and OSC communication, audio reactivity, gestural and computer vision reactivity, experimental interfaces

Week 5: Special topics by request, plus shaders and advanced graphics — Taking fast graphical effects to the next level with OpenGL shaders

Prior to the class you may log into tenlegs.com and create an artist portfolio: https://www.tenlegs.com/signup

ABOUT THE INSTRUCTOR: Gene Kogan is a media artist and programmer who writes free software for performing arts and researches emerging technologies. His work can be seen at genekogan.com.


Harvestworks presents: David Galbraith - Density

Fri Apr 25, 2014 19:00 - Sun Apr 27, 2014

New York City, New York
United States of America

Density is a generative installation of abstract animation with six-channel sound based on a vintage mathematics reference text. Reversing the traditional visual music mapping from musical pitch to color hue, Density structures the sonic realm through constraints derived from the visual domain. The animation is created with Galbraith’s custom software which simultaneously generates sound via granular synthesis controlled by the image track, sparking the interplay between image and sound.

Each frame of the animation in Density is created using Galbraith’s custom, real-time software for image and sound. Numbers printed in the 1957 book Tables of the Non- Central T-Distribution: Density Function, Cumulative Distribution Function and Percentage Points were translated into text files that Galbraith’s software reads to to create grid-based animations. The software simultaneously generates sound by communicating with a digital sound synthesizer running a granular sound synthesis patch. The sound grains are determined by visual and spatial aspects of the grid images. Thus the generative spirit of Density is sparked by the interplay between the image and sonic realms.

David Galbraith is a Brooklyn-based artist and composer. Galbraith explores the couplings between art, music, technology and the body through his installations, compositions, sound works, and performances featuring live electronics and custom software. Galbraith completed a single-channel video work using the first version of his custom software for real-time sound and image in 2006. Since then this software has been his primary tool for creating installation, video, and sound works. Galbraith’s work has been presented internationally at P.S.1/MoMA, The New Museum of Contemporary Art, and KW Institute of Contemporary Art (Berlin), among others. Galbraith has performed at Roulette, The Stone, Judson Memorial Church, Pianos, Diapason Sound Art Gallery, Staatsbank Berlin, and the Pro Musica Nova Festival in Bremen, Germany among other venues. A commissioned radio work of his was performed live on WGXC as part of a John Cage centennial program in 2012. Galbraith is a founding member of Analogos, the analog synthesis collective formed in New York in 2004.



Mon Jun 30, 2014 13:15

New York City, New York
United States of America

Harvestworks Digital Media Arts Center, New York

Harvestworks is looking for interns to help raise $20,000 of the organization's annual operating budget for the 2015 NYEAF (NEW YORK ELECTRONIC ART FESTIVAL). The fundraising must be complete before May 2015.
Founded as a not-for-profit organization by artists in 1977, Harvestworks has helped a generation of artists create new works using technology. Our 2013 Electronic Art Festival was in partnership with River to River Festival, Trinity Wall Street, The Lower East Side Girls Club, The New York Hall of Science, The Hells Kitchen Cultural Center, Electronic Music Foundation and others. The festival is a biennial summer series of concerts, workshops, and exhibitions centered on the cutting-edge work being done at the intersection of art and technology.

This internship position will offer the opportunity to gain real world experience to someone interested in nonprofit development and management, grant writing, events planning, researching donor prospects, solicitation strategizing, in addition to gaining valuable office experience working in one of the most exciting and well-respected American not-for-profits in the field of art & technology.
Duties include, but are not limited to the following. Each intern will be encouraged to take a leadership role in spearheading their own project within the objectives of Harvestworks, depending on one's experience and hours of availability.


1) Communicating and coordinating with our current and former sponsors.
2) New Sponsors:
· Research new foundations to apply for funding
· Help with copy editing of proposals and report
· Help in writing minor proposals and reports
3) Events:
· Research and develop events in new fundraising markets
4) Membership / Major Donors:
· Help in researching potential donors
· Help in conducting in depth researching into new fundraising markets
· Provide support in sending mailings and invitations. Help provide current donors and members with information requests


We are seeking motivated and responsible college students or young professionals looking to gain experience working with a nonprofit. Prior interning experience is not a requirement, but we do require you to have a strong work ethic and willingness to learn. A potential intern should be comfortable working independently but also working with a team and a supervisor.


This is an unpaid internship. We encourage you to use this internship to gain course credit and to seek out "work-study" grants with your college, if that is an option.


If you are interested in the internship, please send an updated resume with a cover letter. In the cover letter you should identify which of the responsibilities and areas of fundraising listed in the internship description above you are interested in. For example "I am interest in working with sponsors and events," or "just sponsors." Also in the cover letter, please provide information on when you are looking to intern, and the estimated days and times you will be available to work.
Email us your resume and cover letter as a Microsoft Word (.doc or .docx) or Adobe Acrobat (.pdf) format.

DEADLINE: 30-June-2014

Email: arterelazionale AT gmail DOT com


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.