Phillip Stearns
Since 2009
phil@phillipstearns.com
Works in Brooklyn, New York United States of America

PORTFOLIO (2)
BIO
Phillip Stearns creates at the intersection of art, philosophy, and science, drawing upon a variety of disciplines including installation, audio-video, circuit sculpture, writing, performance art and musical composition. Deconstruction, dissection, and reconfiguration are methods he commonly employs in the interrogation of materials ranging from electronic objects, biological systems, images, light, video, and sound. His process is that of reduction aimed at revealing hidden macrocosms of potential, new materials for expression, and new paths for inquiries into understanding the state of things. In his work with technology, the machine is understood as the living manifestation of human intentions where the development and application of our technologies, machines and tools reveals our desires and dreams—both conscious and unconscious. His work generates phenomenological experiences that become pathways for interconnecting metaphorical spaces implied in the selection of specific materials, processes and media.

Phillip Stearns received his MFA in music composition and integrated media from the California Institute of Arts in 2007 and his BS in music technology from the University of Colorado at Denver in 2005. His work has been exhibited internationally at electronics arts festivals, museums, and galleries including: Harvestworks (2010 NYC); Gli.tc/H (2010 Chicago, IL); Festival De Arte Digital (2010 Belo Horizonte, Brazil); FILE (2009 Sao Paulo, Brazil); NIME (2009 Pittsburgh, PA); Filmer La Musique (2009 Paris, France); FONLAD (2009 Coimbra, Portugal); Torrance Art Museum (2008, 2007 Los Angeles, CA); Optica Film Festival (2011, 2008 Spain). He has participated in residencies at Museums Quartier (Vienna 2010), STEIM (Amsterdam 2007), Experimental Television Center (NY 2009), Harvestworks (NY 2010), is the current AIRTime Fellow at Free103Point9 for the 2010-2011 cycle, and curator for the 8th annual Bent Festival (2011).
Discussions (4) Opportunities (1) Events (24) Jobs (0)
EVENT

WORKSHOP: LED Art with CMOS Integrated Circuits


Dates:
Sun Jul 11, 2010 00:00 - Tue Jul 06, 2010

WORKSHOP: LED Art with Primitive Digital Logic

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Location: 573 Metropolitan (btw Lorimer & Union), Brooklyn
Date: Sunday July 11
Time: 1pm - 6pm

Register NOW! Register Here: http://www.3rdward.com/3rdwardclasses/led-art.html

Learn to make dynamically moving LED art using only a handful of simple components. We'll start with an oscillator using the CMOS 40106 chip to make a simple blinking LED circuit and review the electronics concepts central to its operation. You'll then be introduced to the CMOS 4000 series digital logic chips and how we can use a couple of them to make many LEDS do cool stuff.

Complementary metal-oxide-semiconductor (CMOS) is a technology for constructing integrated circuits. CMOS technology is used in microprocessors, microcontrollers, static RAM and other digital logic circuits. CMOS technology is also used for a wide variety of analog circuits such as image sensors, data converters and highly integrated transceivers for many types of communication.

Instructor
Phillip Stearns (AKA Pixel Form) is a practitioner of sonic and visual arts; music composer and performer; electronics sculptor and installation artist. He views technology as a site for exploring the global society-environment system and how changes in the relationship between society and environment manifest in our technology—particularly as solutions to a cascading set of problems created by contemporary culture. Through the medium of networked systems, his work explores the horizons of information, politics, noise, control, proximity, subversion, corruption, interconnectedness and interrelatedness. Central to his practice as a visual artist and a performer are the use of custom electronics, hand-craft, hardware hacking, media technologies, and iterative processes marked by a judicial use of materials, restraint, simplicity, a careful balance between conceptual depth and playfulness. He has presented, performed, lectured, exhibited, led workshops and screened works at various festivals, conferences, residencies, museums and institutions around the US, Latin America and Northern Europe.


EVENT

CALL FOR PERFORMERS! - Make Music NY Circuit Bending Mass Appeal Concert


Dates:
Mon Jun 21, 2010 00:00 - Sun Jun 13, 2010

ATTENTION CIRCUIT BENDERS!
The 2010 Make Music New York festival needs you to perform in the Circuit Bending Mass Appeal concert!

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What: MASS APPEAL CONCERT - Circuit Bending
When: June 21st at 6pm.
Where: Gansevoort and 9th Avenue

Circuit benders of all experience and skill levels are invited to take part in the Make Music New York Circuit Bending Mass Appeal concert. The concert will consist of a 30 minute interpretive chance-determined composition written by local artist, Phillip Stearns. Audience members will throw dice corresponding to groupings of performers and a simple graphic to be interpreted musically by that group. Performers are asked to meet at the stage area no later than 5:30 pm to receive score interpretation instructions and to help with setup. Performers are also asked to provide their own amplification, cables, and microphones where possible. There will be a 12 channel mixer available on stage for pre-mixing of signals. To sign up as a performer, please contact Phillip Stearns at poppedbubblewrap@gmail.com. For those interested in performing, but lack a circuit bent instrument, Eyebeam (540 W 21st St. New York, NY 10011) is hosting a workshop lead by Phillip Stearns from 1-5pm before the concert. Simply show up between 1-3pm with $10 fee for materials, but be sure to get there early as supplies are limited!


EVENT

WORKSHOP: Handmade Circuits: Electronic Sculpture


Dates:
Sun Jun 20, 2010 00:00 - Thu Jun 10, 2010

Handmade Circuits: Electronic Sculpture

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Location
573 Metropolitan (btw Lorimer & Union), Brooklyn

Date: Sundays June 20 & 27
Time: 2:30pm - 6:30pm
Registration Deadline: June 16
http://www.3rdward.com/3rdwardclasses/handmade-circuits-electronic-sculpture.html

An introduction to the art of electronic sculpture. Learn how to solder circuits in a point-to-point, free-form fashion and build circuits that you can weave into fabric.

On the first day you will create a light controlled oscillator and a LED flasher from a hand full of transistors, resistors, and capacitors. They can take any form you choose---from abstract, compact to bug-like! From beam bots to the electronic sculpture work found in contemporary art practices, we'll begin with a quick overview of free-form 3D circuits in application. We'll then talk a bit about the electronics theory involved in our LED flasher, covering voltage, current, resistors, capacitors and transistors. The solder will fly as we build our little LED flasher sculptures. Take home as many flashers as you can build!

On the second day you will design and weave an interactive, light controlled LED flasher circuit into burlap stretched over a wood frame. Integrating electronics into textiles is an exciting technical challenge that we will tackle with common components and materials. Though our specific project won't necessarily be wearable, it's definitely not your standard green printed circuit board, and the technique may be incorporated into paintings or sculptures.

Instructor
Phillip Stearns (AKA Pixel Form) is a practitioner of sonic and visual arts; music composer and performer; electronics sculptor and installation artist. He views technology as a site for exploring the global society-environment system and how changes in the relationship between society and environment manifest in our technology---particularly as solutions to a cascading set of problems created by contemporary culture. Through the medium of networked systems, his work explores the horizons of information, politics, noise, control, proximity, subversion, corruption, interconnectedness and interrelatedness. Central to his practice as a visual artist and a performer are the use of custom electronics, hand-craft, hardware hacking, media technologies, and iterative processes marked by a judicial use of materials, restraint, simplicity, a careful balance between conceptual depth and playfulness. He has presented, performed, lectured, exhibited, led workshops, and screened works at various festivals, conferences, residencies, museums and institutions around the US, Latin America and Northern Europe.


EVENT

2010 ArcheTime Film Festival


Dates:
Wed Jun 09, 2010 00:00 - Tue Jun 08, 2010

ArcheTime: Cross-Disciplinary Conference/Exhibition/Film Festival dedicated to exploring artistic, academic and scientific concepts of Time

Screening #1: ArcheTime + Art By Chance

June 9, 2010, 6:30 PM

EFA PROJECT SPACE
The Elizabeth Foundation for the Arts • 323 W 39 St • 2nd Floor • New York City


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2010 ArcheTime Film Festival: PROGRAM
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All By Myself. 2008, 3:30 minute

Valerie Garlick

An 1877 lullaby like vibraphone recording collapses with the repetitive sound of running high heels and a huffing breath of worry. Soundtrack: All By Myself, Aileen Stanley.
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Building & Sky Diary. 2010 3:19 minutes

Michael Szpakowski
www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi

‘Building & Sky Diary' records changing scenes from an apartment window in Montmartre, Paris over a period of days earlier this year.

It was recorded on a pocket HD camera which I made no attempt to position similarly at each recording, and some, but not all, of the footage was itself subsequently manipulated in time by speeding up.

The soundtrack is derived from manipulation of the ambient sounds captured on each original piece of video - a kettle boiling, the TV, cooking, idle conversation.

Depending on the perspective one adopts the piece records both a moment in and change over time.
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Axiom. 2010, 1:30 minutes

Sally Grizzell Larson
http://www.rhizome.org/profile.php?1042836

The rhythm of clapping hands, the repetition of images in equally timed segments: We are lulled and seduced. Like any other high-functioning receptor, the human brain is indiscriminate about what it picks up. How then do we resist the seemingly benign when we're mesmerized by it in spite of our better judgment?
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Tapestry. 2007, 11:28 minutes

Peter McAdam
http://www.mcdada.com

— tap-es-try n
— Something that is considered to be rich, varied or intricately interwoven.

The video takes the form of a moving palimpsest with image and text interwoven illustrating the concepts of time. Both philosophical and painterly the video takes the observer/viewer on an incidental journey through personal animated photo album.

Poetry by Keith Armstrong.
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For the Time Being. 2010, 3 minutes

David Clark
http://www.chemicalpictures.net

This is a short experimental video constructed around an Andre Breton poem: “Less Time”. The flow of thought speaks about our anxiety with time in relationship to our ideas about death and memory. Using extensive manipulation of filmed performances and an overlay of graphic images, the video weaves its vignettes around the meandering musings of Breton's surrealist poem.

The visual language of this video plays with the conventions of cinematic time and editing creating a piece that is lyrical and layered.
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The Edge of the Yard. 2004, 2min 54sec

Caterina Verde
http://www.caterinaverde.com

The fragility of perception is reflected in the moments of the “in-between”---half-forgotten moments, actions as well as gestures that remain powerful in the psyche…where even joyous laughter can frighten. The perception of time and place are incongruous. Nothing seems to belong together yet all is seam-less, no separation of time.
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Parallel. 2010, 4:40 minutes

Dee Hood
http://www.deehood.net

Parallel is an experimental video exploring ideas about time and the parallel universes.
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Apeiron | Peras V (Excerpt), 2009, 4 minutes

Phillip Stearns
http://www.art-rash.com/pixelform

Apeiron | Peras is a body of non-representational, non-narrative video graphics films and performances created using hand-made electronics arranged in generative feedback loops. The result is an intense display of electronic synethesia - sound and image are produced by sonifying and visualizing the same raw electronic signals as directly as possible.

The dance of drones and vibrant visuals is chaotic and unpredictable, yielding moments of tranquility amidst complete sensory assault, from epileptic sequences of strobing bands of light to soft continuously morphing color fields. Each work stands as a record of an intuitive journey, navigating the expressive landscape produced by folding electronic signals inwards upon themselves in generative feedback networks.
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Industrialization. 2008, 2:16 minutes

Frauke Engler, Sarah Janssen, Sandra Kamper

http://www.fraukeengler.de
http://www.sarahjanssen.com
http://sandrakamper.blogspot.com

The 19th century, the era of the industrial revolution, is distinguished by a new perception of time. The increase in speed by the invention of machines determines a new rhythm of life, which is also characteristic for contemporary society.
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Main Street Meltdown. 2008, 5 minutes

Ligorano/Reese
http://www.ligoranoreese.net
http://www.mainstreetmeltdown.com

On the 79th anniversary of the stock market crash the caused the Great Depression in 1929, artists Ligorano/Reese installed an ice sculpture of the word “Economy” in front of the New York State Supreme Court, in the proximity of Wall Street.

MAIN STREET MELTDOWN documents people's reactions to witnessing the economy disappear.
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Short Fall. 2010, 3:30 mins

Paul Matosic
http://www.matosic.org.uk

This film is part of an evolutionary series of film works initiated in 2003. The original footage was made using a high-speed camera filmed at 500 frames per second. These have been rendered in numerous formats both as gallery based installations, using four films in a sequence on four screens in extreme slow motion (lasting 60 min.).

The impetus for making this work stemmed from a sculptural performance project where fall events were recorded as still images. The before and after of which remained a mystery.

In context towers and boxes are a feature of mythology and fairy stories likewise towers falling are the stuff of legend The Tower of Babel and reality The Twin Towers.
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Trash Hourglass. 2009, 30 seconds

Nora Raggio
http://vimeo.com/4405839

Trash Hourglass is a video which is exactly 30 seconds long, with a ring tone at the end, so that if it loops, it reminds one that 30 seconds have just gone by - often!. It keeps one quite focused on the present and brings awareness to the fact that by now, instead of using sand, as in days of yore, we can measure time by amount of trash we generate every half minute.
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Sunbeam. 2009, 2:04 minutes

Erica Schreiner
http://www.ericaschreiner.com

People scurry and the world is frantic as the world ends. In the midst of all the hurrying, a butterfly rests peacefully.
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Poker. 2007, 29 seconds

Sarah Janssen
http://www.sarahjanssen.com

By making use of stylistic devices of the advertising industry this stop motion animation tells a story about winning and losing in relation to the passing of time.
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All that is solid melts into air. 2009, 3 minutes

Lemeh42
http://lemeh42.indivia.net

This work aims to reflect on sarcastic repetition of historical events such as the actual economical crisis.
In particular the work focuses on the role of managers and money and on the true value of things.
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Traffic, (or thoughts while eating ritz crackers). 2008, 7 minutes

Ian Winters
http://www.ianwinters.com.com/traffic.html

Created originally as time-lapse film for performance, traffic (or thoughts while eating ritz crackers), is a collaboration between Bay area filmmaker Ian Winters and choreographer Mary Armentrout that features a day's worth of I-80's traffic passing in 7 minutes combined with the on stage musings of a Ritz cracker eating Armentrout falling from a kitchen chair. Described as "witty...and relentless" by the LA times (march 24th, 2008) it debuted at CounterPULSE (SF, CA) in November 2007, followed by a run at Highways in Santa Monica, CA in March 2008.

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From Russian film collection “Vanishing Time” curated by Natalya Govorina.
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There where you are. 2010, 4 minutes

Sergei Lyapin

Blurred experiences form our memory, history, dreams, reality…
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Sanatorium. 2008, 19 minutes

Natalya Govorina

It happens to all of us sooner or later… a film based on the works by Russian writers Venedict Erofeev and Sasha Sokolov. Named Best Narrative Film at the 2008 Moscow Festival of Short Film.
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Supported by the Lower Manhattan Cultural Council, The New York City Department of Cultural Affairs, EFA Project Space, the Tank Space for Performing & Visual Arts, and the NYC Future Salon

© ArcheTime Project
All rights reserved.

ArcheTime Project is made possible in part with public funds from the Manhattan Community Arts Fund, supported by the New York City Department of Cultural Affairs and administered by the Lower Manhattan Cultural Council


EVENT

Opening Reception | 2 New Works byPhillip Stearns & Drone 4x | An Evening of Music


Dates:
Mon May 24, 2010 00:00 - Mon May 17, 2010

Fruiting Bodies of High-Voltage Transmission Lines
Lament II - Sand & Silt

New Works By Phillip Stearns

Opening Reception + Concert
A 21+ Event: Suggested Donation of $5

Space-time Coordinates:
7pm @ The Commons NYC | 388 Atlantic Ave. Brooklyn, 11217 (Boerum Hill)

Installations (7-8:30p):

"Fruiting Bodies of High-Voltage Transmission Lines"
A new sound work by Phillip Stearns

"Lament II: Sand & Silt"
A sound & video installation by Phillip Stearns (in progress/workshop session)

Concert (8:30-11p):

"Drone 4x" Featuring Performances by:
David Kant
Jeff Donaldson (Notendo)
Loud Objects
Pete Edwards (Casper Electronics)

About the Work

Fruiting Bodies of High Voltage Transmission Lines
8 speakers produce 8 approximate sine tones, independently fading in and out at slow but regular rates. Silence is broken by a single tone slowly growing louder. That tone is joined by others forming a chord. This chord morphs into a tonal cluster, a sonority active with overlapping beat frequencies, melting away into a suspenseful chord and then swelling again, evolving into subtle but unique sonorities, occasionally returning to silence. The piece works with simple cyclical forms to produce a long form non-repeating drone composition that forms a meditative sonic environment for contemplating the visual form of the installation. Salvaged speakers and handmade, reusable electronics are arranged in an organic, almost biological, visual composition that draws connective metaphorical threads between the flow of electricity in our cities to the water in our rivers and the blood through our veins.

Lament II: Sand & Silt
The Lament series is centered around the perception of cyclical time and the relationship between society and the environment. The work drawing upon our connection to the earth through astronomically driven biological cycles. All material for the Lament series was derived from the interactions of sine tones oscillating across the spectrum of physical perception from motion, to sound and finally light. The sinusoidal waveform signifies a pure cyclical and temporal process, one that is intimately linked to the revolution of planets, their orbit about the sun, the changing of tides, and the topography of water in motion. The Lament series stems from a meditation on a loss of innocence symbolized by the widespread polluting and subsequent destruction of our aquatic ecosystems.

Artist Bio

Phillip Stearns is an interdisciplinary multi-media artist and electronics arts educator. He received his master's degree in music composition and integrated media from Cal Arts in 2007. His work lies at the intersection of art, philosophy, and science, drawing upon a variety of disciplines and mediums including installation, audio-video work, circuit sculpture, writing, performance art and composition. He views electronics as complex artificial living systems, organisms existing within both ecosystems and economies. Thematic elements of his recent work focus on the global society-environment system, and how changes in the relationship between society and environment are manifest in our technology. A judicial use of materials and a careful balance between conceptual depth and playfulness inform his employment of hand-made custom electronics in the creation of generative systems. Through the medium of interactive networked systems (electronic & biological), the ecologies of information, interconnectedness and interrelatedness become central subjects. He has exhibited and presented his work at numerous festivals in the US, Northern Europe, and Latin America including Transitio_MX, FILE, NIME, FONLAD, and others. He is the current 2010 Van Lier Artist in Residence at Harvestworks.

contact: pixelform@art-rash.com
more info and projects: http://www.art-rash.com/pixelform