Cary Peppermint
Since 2010
Works in New York United States of America

Cary Peppermint's work explores the convergence of ecological, cultural, and digital networks, through a post-disciplinary practice with strong ties to internet and performance art. His works are in the permanent collections of the Walker Art Center, at the New Museum for Contemporary Art, Computer Fine Arts, and the Whitney Museum of American Art. Since co-founding ecoarttech with Leila Nadir in 2005, Cary's art has turned toward the imagination of the environment as a convergent network of biological, cultural, and digital spaces. Selected ecoarttech works include "Eclipse,” commissioned by; "Untitled Landscape #5,” a commission for the Whitney Museum of American Art; and "Center for Wildness and the Everyday,” a series of digital media works and performances about water scarcity commissioned by the University of North Texas. ecoarttech's honors include a 2009 New York Foundation for the Arts artist fellowship and teaching appointments at Banff New Media Institute and Anderson Arts Ranch. Cary’s curatorial work has focused on digital, back-country, off the grid exhibitions such as Wild Info Net, a solar-powered sound-art installation in the Catskill Mountains, and Nature 2.0, one of the first exhibitions of eco-art engaging new media technologies. Peppermint is an Assistant Professor at the University of Rochester and has held previous appointments at Cornell University, Colgate University, and the Pratt Institute.
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Drunken Boat Launch Party, Feb. 19th, 7:30 pm

Thu Feb 19, 2004 00:00 - Sun Feb 15, 2004

Drunken Boat Launch Party

Thursday, February 19th, 2004, 7:30 pm

Pete's Candy Store, 709 Lorimer Street (between Frost and Richardson Sts.) Williamsburg, Brooklyn, 11211
(718) 302-3770
Subway: L train to Lorimer St; G train to Metropolitan Ave.

Drunken Boat, online journal for the arts , kicks off Issue#6 with a multimedia extravaganza, featuring poets Andrea Baker, Benjamin Gantcher, Brian Kim Stefans, and sound artists Latasha Natasha Diggs and Cary Peppermint.

Contact Ravi Shankar or
(860) 832-2766 for more details.


Andrea Baker's work is forthcoming or has recently appeared in Denver Quarterly, Fence, La Petite Zine, Lit, Vert, and Volt. She is Poetry Editor at 3rd Bed and lives in Brooklyn, NY with her husband and son.

Benjamin Gantcher's poems have appeared in several journals and magazines, including Archipelago, Slate and Tin House, and are forthcoming in Grand Street.

Brian Kim Stefans has published several books and chapbooks of poetry, most recently Jai-lai for Autocrats (poems, Portable Press) and Fashionable Noise: On Digital Poetics (Atelos Books), a miscellany of interviews, poems and poetics. His essay on the political blog he created and co-edited called Circulars ( is forthcoming in a book by MIT Press later this year. He runs, devoted to new media poetry and poetics.

Writer and vocalist, Latasha N. Nevada Diggs' literary and sound works have been published and recorded in various publications and for music projects ranging from rock to house. She is the author of two chap-books, Ichi-Ban: from the files of negrita muneca linda and Ni-ban: Villa Miseria and the producer and writer for the conceptual audio project, Television. A fellow of the Cave Canem Workshop for African American Poets, she is a 2002 Harvestworks Digital Media Arts artist in residence, a 2003 Zora Neale Hurston recipient from Naropa Institute, and a 2003 New York Foundation for the Arts fellow. She is also the lead electronic vocalist for the Zappa-esque jam band, Yohimbe Brothers, fronted by Vernon Reid and DJ Logic. She lives in Harlem.

Cary Peppermint is a performance artist involved with immersive environments of convergent media. His work flows through organic and new media technologies, incorporating live performance, interactive installations, experimental music, and the internet. At the most basic level, Peppermint's works are concerned with mediation and the reduction of space and time. Peppermint's works comprise some of the first real-time, interactive performance art realized via the internet including "The Mashed Potato Supper" conceived in 1995 as part of Edinburgh's Fringe Film and Video Festival OE96 and "Conductor Number One" included in "PORT: Navigating Digital Culture" at MIT List Visual Arts Center in 1996. Peppermint lives in New York where he releases work through his performative online database of convergent media at

Ravi Shankar
Assistant Professor
CCSU - English Dept.


dorkbot-nyc: Honeygun Labs, Cary Peppermint & Jeannie H. Lee

Wed Feb 04, 2004 00:00 - Wed Jan 28, 2004

people doing strange things with electricity

Wednesday, February 4th, 2004 at 7pm at the Columbia University Computer Music Center (see directions below)

featuring the lovely and talented:

Honeygun Labs
Honeygun Labs will present work they've been doing developing content for live remixing in different situations. Their focus is not only on using experimental equipment and techniques, but making what comes out of the gear compelling. They will be presenting work that was shown (and remixed live) this past summer at Deitch Projects as part of the Assume Vivid Astro Focus show as well as talk about performing live video remixes in mainstream clubs across the U.S. as part of a 4-month national tour (and how weird that was). They will also talk a bit about different video-related events they've recently curated.

Cary Peppermint:

Cary Peppermint will talk about his work (past and current) that weaves its way across multiple media technologies. Peppermint will discuss how he does not simply include multiple media as part of his work's formula of distribution and dissemination but rather how his strategies for media synaesthesia include actively "performing" the media. Peppermint's works comprise some of the first real-time performance art realized via the internet including "The Mashed Potato Supper" as part of Edinburgh's Fringe Film and Video Festival in 1995 and "Conductor Number One" included in PORT: Navigating Digital Culture in 1996. Peppermint lives in New York where he consistently releases his work through his performative online database of convergent media.

Jeannie H. Lee

Shh . . . She's Asleep is a solo performance art work featuring interwoven aspects of television, theater, interactive, real-time video processing and new computer music compositions. In brief, Shh . . . She's Asleep is about a woman's unusual night of dreams and sleep disturbances, which an audience passively observes within a fictitious re-creation of the woman's apartment. Believing she is "alone," the woman journeys through passing dreams, during which she unknowingly walks, talks and interacts with video images and audience members as part of her dream world. Preventing her from resting peacefully, however, are various forms of information overload, such as email alerts, news, television, and phone calls, which frequently wake her up and aggravate her unusual habits of parasomnia (i.e. talking, walking, and eating while asleep). In spite of all this, she manages to have several brief moments of deep sleep, during which computer music tape pieces, which represent her sleeping subconscious, are brought into the foreground and played in complete darkness. This work was premiered at List Art Center of Brown University as part of a Masters Thesis creative project in 2003.

NYC, I Love You, Too is a comical, yet touching interactive multimedia performance about young modern-day woman attempting to recapture and share her childhood sense of unconditional love to the general public of NYC. The form and narrative of this work follow the woman's diary entries and cartoons, which share her fantasies and her videotaped and real-life interactions with people she has met in the city. Throughout the performance, the video recordings of New Yorkers and the audience members themselves become part of the woman's ambitious attempts to realize "love" in NYC. No matter how strange, different or bizarre Afterwards, she embarks on explorative and imaginative attempts to say, "I love you" to these random strangers. This work was presented on November 15, 2003 at the Listening to the Sound Kitchen Music Festival at Princeton University.