Christina Ray
Since the beginning
Works in Brooklyn, New York United States of America

Christina Ray has produced artist projects, performances and site-specific interventions for city streets and exhibition spaces since founding Glowlab in 2002. As a consultant and educator, Ray has participated on panels and juries with Rhizome, the Lower Manhattan Cultural Council, Eyebeam, the Van Alen Institute and others, and has taught interactive media at the Maryland Institute College of Art in Baltimore. Fluent in Japanese, Ray lived and worked in Japan for four years where she cultivated an aesthetic and cultural awareness that has influenced the growth of Glowlab’s international focus.

Ray is the founder of Conflux, the annual art and technology festival for the creative exploration of urban public space, and has led the festival as Director since its inauguration in 2003. She is currently serving as Key Artistic Advisor for Times Square Public Art Planning with the Times Square Alliance and recently became a founding member of the Advisory Committee of the new 92YTribeca arts and entertainment venue, which opened in the fall of 2008. Ray also sits on the advisory committee of the Queens-based arts organization Flux Factory. In 2009, Ray’s work will be included in the books _A Guide to Democracy in America_, published by Creative Time, and _Critical Play_, written by Mary Flanagan and published by MIT Press. She is a frequent speaker on the intersection of art and emerging technology in public space.

Ray has collaborated with and received support from organizations including the New Museum of Contemporary Art, The New York State Council on the Arts, The New York Foundation for the Arts, The Puffin Foundation, The Independence Community Foundation, the Brooklyn Arts Council, the Williamsburg Gallery Association, Intel’s Berkeley Research Lab, Southern Exposure, ISEA, Art Interactive, ABC No Rio, Participant Inc., Parsons School of Design, Hunter College, the Cooper Union, the University of Pennsylvania Design School, the CUNY Graduate Center, the Council on the Arts and Humanities for Staten Island and others.
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Conflux Festival 2008

Sat May 31, 2008 00:00

Conflux is the annual art and technology festival for the creative
exploration of urban public space.

Save the dates: the 2008 festival takes place September 11 - 14 throughout
New York City.

To submit a proposal to participate in the festival:

The deadline for submissions is May 31, 2008.

We look forward to seeing you in September!

- Team Conflux


Conflux 2007 Call for Proposals

Sat Mar 24, 2007 21:22

Conflux 2007 will take place in Brooklyn again this September and we want you in it! The call for proposals is at and has all the information you need on how to participate. The online submission form will be live next week and the deadline for proposals is April 17. It's a tight deadline, but the submission process is short & sweet and we look forward to receiving your proposals.

The Conflux festival has been described as "a network of maverick artists and unorthodox urban investigators…making fresh, if underground,contributions to pedestrian life in New York City, and upping the ante on today's fight for the soul of high-density metropolises." At Conflux visual and sound artists, writers, urban adventurers and the public gather for four days to explore the physical and psychological landscape of the city. For more information about Conflux, check out the Conflux 2006 site at:

Please help us get the word out about the call, and see you in September!


Glowlab announces new artist representation program to launch at the Fountain New York art fair.

Thu Feb 22, 2007 00:00 - Fri Feb 09, 2007


Glowlab announces new artist representation program to launch at the Fountain New York art fair.


Dates: Thursday, February 22-Monday, February 26, 2007
Location: 660 12th Avenue [between 48th St. and 49th St., 4 blocks south of The Armory Show’/Pier 94]

VIP/Press Preview: Thursday, February, 22, 12-5pm

Opening Reception: Thursday, February 22, 5pm-12am

Exhibition Hours: 11am-7pm

Contact: Christina Ray, Glowlab Founder and Creative Director, 718.388.5911 or
Websites: Glowlab: . Fountain:

February 1, 2007, Brooklyn, NY - Brooklyn-based independent curatorial project Glowlab is pleased to announce a new artist representation program launching at Fountain, the new avant-garde art fair pioneered by Brooklyn's most cutting-edge galleries, where we will feature limited-edition prints and photographs, maps, sculpture, audio/video works and performance projects inspired by the urban environment.

The complex physical, social, psychological and technological orders and disorders of cities serve as the focus for experimental, process-oriented and often street-based works by Glowlab’s twelve artists at Fountain, including Robin Antiga, Kurt Bigenho, Bethany Bristow, Beth Coleman, Howard Goldkrand, D. Jean Hester, Heather L. Johnson, Steve Lambert, Marisa Olson, Mark Price, Sal Randolph and Lee Walton.

In addition to presenting artists' works in exhibitions and art fairs such as Fountain, Glowlab is now open by appointment in Williamsburg in our studio just off the Bedford Avenue L stop. Appointments may be scheduled by contacting Glowlab at 718.388.5911 or Artists' works will also displayed in a special gallery section of the Glowlab website at, scheduled to launch in mid-February.

For the launch of our new program at Fountain, Robin Antiga presents a new screenprint edition depicting lost and endangered characters rooted in a dystopic urban wasteworld. Kurt Bigenho's diagrammatic and colorful screenprint paintings, developed during recent walks through Rio de Janeiro, investigate map-based systems of interaction, communication and structure, while Bethany Bristow's sculptures and prints serve as evidence of her street interventions in Bangkok, Saigon and Kuala Lumpur.

SoundLab Cultural Alchemy co-founders Beth Coleman and Howard Goldkrand present two projects: Coleman's "Tiny World" prints explore the digital landscape of machinima, an emerging film genre utilizing interactive 3D gaming engines; Goldkrand's "Sound Signature" series, produced during a residency at the Chinati Foundation, visually represent the invisible structure of the sonic environment.

D. Jean Hester's watercolors combine text appropriated from song lyrics with fragments of the urban Los Angeles landscape. Heather L. Johnson offers a related take on text and the city, merging overheard conversations with architectural engineering plans in the form of delicate embroidery on linen as well as graphite drawings. Mark Price will create an installation for Fountain with silkscreen printed fabric patchworks and wall paintings depicting fragile beings lost in a struggle against the harsh, dehumanizing beasts of modern society and the ills they attract.. Sal Randolph's "Parasigns" is a distributed, socially activated sculpture comprised of vinyl stickers with ambiguous words and saturated colors mounted on regulation-grade aluminum street signs.

Marisa Olson’s installation is a constellation of objects that spring from her fascination with pop music, stardom, and failure. In a series of performances throughout the weekend, Fountain visitors will be able to don custom headphones and join her in a "world tour" of the greatest hits of bands named after geographic locations. Join Marisa as she makes stops in Berlin, Boston, Beirut, Chicago, Alabama, Kansas, Europe, Phoenix, and Duluth.

Lee Walton, known for his interactive and often humorous work in public space, has developed a new project for Glowlab titled "Giving Up My Time," an edition of 24 unedited miniDV tapes documenting the artist's life as one-hour video segments available for purchase.

In a special event taking place in Williamsburg during the weekend of Fountain, Steve Lambert will present "I WILL TALK WITH ANYONE…", a table set up on the sidewalk allowing passersby to speak with Steve about anything on their minds. Look for Steve on the corner of N. 5th and Roebling Streets throughout the evening of February 24th, during the Williamsburg Gallery Association's "After Hours" event.

Performance schedule for Marisa Olson:
Thursday, February 22: 2-3pm, 6-7pm, 8-9pm
Friday, February 23: 12 - 1pm
Saturday, February 24: 4-5pm
Sunday, February 25: 4-5pm
Performances take place in the Glowlab booth at Fountain, located at 660 12th Avenue.

The avant-garde has always laid claim to history through its challenges and victories over the status quo. In 1917, at the unjuried Society of Artists exhibition, Marcel Duchamp unveiled the world's most famous ready-made art object: "Fountain." It is in this spirit of the unexpected that some of Williamsburg, Brooklyn's most forward-thinking and cutting-edge galleries, Capla Kesting Fine Art, Front Room, Glowlab, McCaig-Welles Gallery and Outrageous Look have collaborated to present Fountain New York 2007. Expect floor-to-ceiling displays of brand- new works, bold installations, impromptu performance events and the best parties of the weekend, as this exhibition makes its mark in a massive 5000 square foot space at 660 12th Avenue, a few blocks from the Armory show at Pier 94.

Fountain is made possible in part by the support of arts services organizations including the Brooklyn Arts Council, Fractured Atlas, Nurture Art and the Williamsburg Gallery Association.

Glowlab is an independent curatorial lab producing, publishing and exhibiting art and technology projects exploring the nature of cities. Founded in 2002 by Brooklyn-based artist and curator Christina Ray, we track emerging approaches to psychogeography, the creative exploration of the physical and psychological landscape of cities. Activities include hosting our annual Conflux Festival, producing exhibitions and events and publishing a web-based magazine.

Glowlab is particularly interested in the psychogeographic elements of contemporary public-space artwork. The work we produce and present is created by artists whose primary inspiration is the urban environment and its complex physical, social, psychological and technological orders and disorders.

We have collaborated with organizations including the New Museum of Contemporary Art, Eyebeam, Rhizome, the Lower Manhattan Cultural Council, the Brooklyn Arts Council, the Van Alen Institute, Intel's Berkeley Research Lab, Southern Exposure, Parsons School of Design, Hunter College and more. Projects have been featured extensively in exhibitions and in publications including the New York Times, The Los Angeles Times, The Boston Globe, The Village Voice, Time Out, New York Press, Adbusters, Flash Art magazine and many others.

Contact: Christina Ray, Glowlab Founder and Creative Director, 718.388.5911 or



The Sams at Fountain Miami

Thu Dec 07, 2006 00:00 - Wed Nov 29, 2006

Please join us for The Sams Launch Ceremony on Thursday, December 7th, 7-8pm:
Fountain Miami
2825 NW 2nd Avenue (at 29th Street)

The launch will be followed by a mobile performance appearing at the night’s major parties.

Catch The Sams again at Fountain Miami’s official opening reception on Friday, December 8th, 7pm - midnight.

The Sams

The Sams is a participatory experience produced by a Brooklyn-based team of artists known simply as "The Organizers," who ask the following: what would be the effect of taking the most ubiquitous figure at Art Basel Miami Beach and duplicating him, cloning him—imperfectly—and releasing his clones into the night to create multiple incidences of art world confusion and speculation across Miami and South Beach?

The Sams engages themes of multiplicity, notions of identity, and the exploration of celebrity within its context. The project certainly has its references: the Situationists, Vanessa Beecroft, flashmobs, and file-sharing culture. For the audience and for participants, the piece is distributed, dispersed and experiential, claiming as its setting not a single gallery or venue but rather the shared context of Art Basel Miami Beach itself.

Glowlab is presenting the project in collaboration with a new, DIY-style fair called Fountain Miami, a counter-point to the existing art fairs with work by emerging and established artists presented by Brooklyn-based galleries and curators.


Fountain Miami:
email: wearethesams ::at::



Interview With Adam Greenfield by Christina Ray

+Commissioned by

Interview with Adam Greenfield
by Christina Ray

I recently met up with Adam Greenfield, author of Everyware: The
Dawning Age of Ubiquitous Computing, to discuss the book's ideas over
coffee. Everyware was published in 2006 and draws upon Adam's
background as a user experience consultant and critical futurist to
describe the subtle yet persistent diffusion of computing technology
into the landscape. Against the espresso machine hum, the cafe's iPod
shuffling through indie rock tunes, and the register jingle, we
talked about speed and convenience as the seductions that drive our
increasingly mediated reality. And we pondered the cultural,
ecological, and ethical costs of living with everyware and where we
go from here .

CR: From where we are right now, what kinds of everyware or pre-
everyware can you identify?

AG: Remember when you were a kid, and you were first writing letters
to your friends, and you'd lavish a ridiculous amount of detail on
the return address? "127 North Van Pelt Street, Philadelphia,
Pennsylvania, 19103, USA, North America, Earth, the Solar System"? It
turns out that "where," in the everyware context, is a little like
that -- in order to give you an answer as to "where I am right now,"
in the sense that's most relevant to this discussion, I'd have to
specify all the situations and contexts in which I'm presently

Some of these situations are physical, and they're unfolding at a
nested series of scales. So I'm simultaneously in the United States,
and in Brooklyn, and at the given address of this cafe. And, of
course, I also happen to be in a room, and sitting at a table, and in
close proximity to an array of tools and devices at that scale.

At the most global scale, I'm already implicated in ubiquitous
systems, at this very moment, by dint of those ghostly traces of me
that exist in networked databases -- property register, driver's
license, utility accounts -- and which associate me with this
location. Those, in turn, can be correlated with an IP address that
locates me virtually. In front of me are my mobile phone and wallet
and transit pass, lying on the table, and those things are all either
presently networked or designed to be used with the global
information network.

Increasingly, we inhabit what I think of as an order of networked
things. I think of each of them, as diverse and heterogeneous and
apparently unrelated as they are, as nothing other than tendrils of
ubiquity. All that would be necessary for these things to constitute
everyware, in the sense I discuss in the book, is for them to start
talking to one another -- and we're already beginning to see the
signs of just such a convergence.

All of this is a way of saying that, if you want to detect the traces
of emergent ubiquity in the world around you, it can't hurt to
cultivate a certain sense of the paranoid-critical. Look around you:
It's there to be seen, if you have but the eyes to see it.

CR: You've described a sense of wonder at seeing how women in Hong
Kong almost immediately adapted to a new subway entrance system by
simply swishing their handbags containing their passes over the
turnstile's RFID reader. This lets them glide on through without
having to stop, and was a completely self-taught "dance" that emerged
on its own. What other adaptive behavior have you encountered that
responds to everyware in public space?

AG: One of the things I've really enjoyed about being out on the road
so much this year, and giving my talk in so many places, is that
people will come up to me afterward and tell me their own stories,
share their own experiences of this nascent ubiquity.

So I'll get people saying that their academic department or their job
has doors which are unlocked with the RFID nametags they're required
to wear - but that men in these situations will leave these cards in
their wallet, and the wallet in their back pocket, so that the
interaction with the system consists of them half-turning and rubbing
their ass on the card reader. I love that, and I'm particularly
interested to see the sorts of language that emerge around behaviors
like that.

But I've seen, probably, a great deal more behavior that has not yet
adapted to the fact of our engagement with networked devices in
public space. If you pay attention to this sort of thing, you see
social conflict breaking out all along the fault lines, with concerns
emerging around things like mobile phone etiquette, continuous
partial attention, whether someone should stop messaging and look up
from their Blackberry long enough to order a coffee, if you're
justified in not tipping a cab driver if they're on a phone headset
during your entire trip, and so on. And should we forget that
surveillance is at least as much a question of Little Brother as of
Big Brother, there's always the object lesson of 'Dog Poop Girl' (see
link below) to keep in the back of our minds.

CR: In the book you propose several features that should be designed
into everyware. Everyware should default to harmlessness; be self-
disclosing; be conservative of face and time; and be deniable. Could
you expand upon these ideas a little?

AG: I believe that when designers imagine systems that by their very
nature assume a great deal of responsibility for the outcome of
situations, that exert an outsized and even unprecedented influence
on life chances, they should among other things be held to the very
highest standards of ethical design. This goes beyond the idea of
installing appropriate safeguards for identity and privacy -- it's
not even properly a technical question, but a moral one.

However unfashionable or bourgeois it may be, I believe in all those
good old Enlightenment values: that you always already have the
inalienable right to your privacy, your time and self-determination
and personal autonomy. You have the right to know that information
about you is being collected, and by whom, and what they are
proposing to do with that information. We should demand that the
ubiquitous systems we're subjected to be designed in such a way as to
respect these prerogatives -- further, that we be able to refuse
exposure to any system which does not, at least in private space.
(It's probably too late to assert any such principle in the public

In that sense, there's nothing in the Everyware principles that's
even specifically about ubiquitous computing: This conversation is
older than history, and obviously far better heads than mine have
taken it up.

CR: From conferences to new university courses to corporate marketing
departments, the subject of ubiquitous computing is becoming
ubiquitous. In your book, Thesis 69 reads, "It is ethically incumbent
on the designers of ubiquitous systems and environments to afford the
human user some protection." Are engineers, designers, students, and
companies having discussions on the ethics of protecting users?

AG:I think that a vanguard few are, yeah, even if in the latter case
it's only as a business differentiator. It's going to be exceedingly
difficult for most engineers to consider these questions, though, for
the very good reason that so often, the sorts of effects of
ubiquitous systems that I personally find so worrisome can only be
understood as emergent behavior. That is, they arise out of the free
interplay of discrete, distributed, networked systems. We're talking
about a class of behaviors that can't necessarily be predicted at
design time, even in principle. I'm the first to admit that
incorporating the sorts of prerogatives we've discussed into the
design of new products and services is not at all a simple thing to
ask for.

I think it really takes someone able to step back from a given
device, or even a given technology, to discern how it will interact
ecologically with the others already on the table, those currently
emerging, and the pre-existing body of everyday cultural practices.
Traditionally, this has been just where information architects and
other user-experience professionals have had so much to offer, and I
still I have high hopes that the UX community will rise to the
challenge of everyware. As far as deep, ongoing conversations,
though, I don't really see it happening. Not yet. And, you know, the
hour is late.

CR: The emergence of everyware can be, as you describe in the book,
often quiet and subtle. No one's shouting, "Hey we just developed a
device that tracks your every movement." Unless or until a major
techno-disaster forces problems into the public arena, how do
concerned citizens identify what's frequently invisible?

That's a great question, an absolutely crucial one, and I'm afraid I
don't have a very good answer for it. About all I can offer is the
suggestion that we all try to do a better job of questioning -- with
rigor and honesty and fearlessness -- the assumptions undergirding
every new technological product and service we're offered. Will this
really make my life easier? What are some of the less-obvious
implications of inviting this into my life? What might I be giving up
in exchange for what this is offering me? And what would my world
look like if everyone adopted it?

These, again, are not obvious questions, and we're just not used to
thinking along these lines. So a big part of what I see myself as
being engaged in is something very old-fashioned: consciousness
raising. It's something I'm pursuing in the hope that I can both
learn to make decisions about emergent technologies that I'll be
happier with in the long run for myself, and help other folks do so
as well, on their own behalf.

+ Christina Ray is an artist and curator living in Brooklyn and the
founder of Glowlab, a project to support and develop art/tech
experiments exploring the nature of cities. Glowlab produces the
annual Conflux festival in New York.