(September-November 2016) Jess Rowland is a sound artist, musician, and composer. Over the course of her residency, Jess worked with tools in the VFL to explore ways to create interactive inductive embedded sound-containing objects. Using a combination of printmaking and etching techniques she created interactive flexible circuits that could be used as musical instruments. IMG_1946

Jess has earned composition grants from the American Composers Forum, commissions by theater and modern dance companies, artist in residencies, and has been affiliated with the Center for New Music and Audio Technology at UC Berkeley. In addition to recent performances at the Berkeley Art Museum, Luggage Store Gallery, Spectrum NYC, and 10 Thousand Poets for Change, she has published a paper focusing on some of her current Sound Art concerns in the Leonardo Music Journal (LMJ 23, December 2013).

To learn more about Jess Rowland's work, please visit her website, here.

(Spring and Fall 2016) BK BioReactor is an investigation into the unseen microbiology of the Gowanus Canal, Brooklyn’s hippest Superfund. Utilizing the tools of biotechnology and design, the group’s mission is one of microbial discovery and a continued study for a designed future.

The project was catalyzed by the U.S. Environmental Protection Agency’s (EPA) designation of the Gowanus Canal as a Superfund and its plan to dredge and sub-aquatically cap the waterway over the next ten years. This destructive remediation of the canal environment raised the question: what is the environment that is about to be supplanted?

This process follows 150 years of industrial pollution, combined sewage overflows, and stormwater runoff contaminating the length of the canal, garnering an infamous reputation among the most polluted waterways in the Nation. Yet polluted environments, long overlooked as inimical to life, are receiving attention from Microbiologists. Armed with new analytical tools from molecular engineering, scientists are unearthing new communities of microorganisms unique to the urban realm. The team is cognizant that dredging operations will eliminate these microbial communities in the Gowanus Canal before their taxonomy and potentially unique cell products are studied and catalogued.


(November 2015- January 2016) Mary Huang is the founder of Brooklyn-based Continuum Fashion. Her work reflects her fluency in 3D design, digital manufacturing, and code to redefine the craft and experience of fashion. Her collections largely focus on soon-to-exist futures that intersect personal expression, consumer goods, and fabrication processes. In Data Collection, she explores patterns we track in our daily lives, while bringing new meaning to the term “data visualization.” As Huang states: “We believe that fashion should express how we live our digital lives, and that products express the process and story of their creation. We consider that the most beautiful fashion would be created entirely by robots, in an autonomous choreography, without any human labor.”

(September-November 2016) Melissa F. Clarke is a Brooklyn based interdisciplinary artist whose work employs data and generative self-programmed compositional environments. Melissa is an educator, curator, and an artist working at the intersections of research, data, science, and design. She extrapolates research and observation into multimedia installations, generative video and sound sculptures, performances, and printed images. Her installation projects often reconnect scientific data to an organic source using sound and images collected in the field. Melissa was a recent artist in residence with Clock Tower at Pioneer Works and the Simon’s Center for Geometry and Physics. Clarke has performed and exhibited her multimedia work at spaces such as: Pioneer Works, NY, Loop Festival, Barcelona, Center for New Music, CA, Interactive Art Fair, FL, Eastern Bloc, CAN, Reverse Art Space, NY, 319 Scholes, NY, Eyebeam, NY, Issue Project Room, NY, Simons Center for Geometry and Physics, NY, Electronic Music Foundation, NY, and with the Queens Museum, NY. Clarke successfully launched a Kickstarter campaign to fund her arctic travels and research. Her work has been featured by the Art F City, Creators Project and with publications such as the Village Voice, Kickstarter, Art 21, Blouin Art Info, Impose Magazine, and Columbia University’s State of the Planet. Clarke is a graduate of NYU’s ITP program with a Tisch Fellowship. She is currently  an adjunct professor at SUNY Stony Brook teaching interactive installation art, introduction to computational art, digital printing and web art.

(March-May 2015) Olalekan Jeyifous proposed to "translate" his fine artworks and architectural studies into commercial items, intended for consumption by a broader audience.

Olalekan Jeyifous creates hand drawings, digital illustrations and architectural constructs that are rooted in "borrowed and invented narratives." His artworks are also tied to his cultural identity and peripatetic upbringing, which was characterized by perpetually adapting to and exploring new places. He has exhibited at The Kitchen, The New Museum of Contemporary Art, The Studio Museum in Harlem, The Soap Factory, MoMA, The Drawing Center and la B.A.N.K. in Paris. His awards and grants include a fellowship from the New York Foundation of the Arts, an H20 International Film Festival Award and grants from the New York State Council on the Arts and the Brooklyn Arts Council.



(August-October 2014) David Lobser with Wyna Liu. Their residency continued development of their collaborative project We Go Together and Vessel.

During the course of their residency, David coded a unique set of tools using Javascript to generate parametric g-code for 3D printers, .sbp code for the CNC router, and .eps files for the laser cutters. These tools focus on elemental concepts of math and computer science to create space filling algorithms, spirals in particular. Wyna built upon these results by using the forms as physical building blocks to assemble tessellated constructions. The results are complex forms produced by the digital fabrication machines based on the numerical inputs from David’s custom software.

David Lobser has been working with animation for nearly twenty years. His work is cinematic, being influenced stylistically by David Lynch, Tim Burton and the Brother's Quay amongst others. David attended the School of Visual Arts and has taught at Parson's, Harvard, and the Tecnologico de Monterrey in Queretaro, Mexico where he continued to expand on his character design workshop. More recently David graduated from NYU's ITP program and has starting creating works using code, mostly 3D projects in javascript. His interest in animation comes from a desire to stir emotion and connect with audiences in unique ways. Intense emotions create intense bonds. David Lobser enjoys being part of the aesthetic conversation for the beginning of this century and hopes to inspire others to act on their creative impulses.

Wyna Liu is a mixed media sculptor and fabricator based in NYC. She received a Masters from NYU's Interactive Telecommunications Program in 2014. Her work combines digital fabrication techniques with fussy hand finishing processes. She is interested in modularity, mechanisms, and the lathe.





(March-May 2014) Mari Kussman and Maddy Maxey, founders of CRATED Lab. CRATED Lab focuses on changing consumerism through low-impact wearables and progressive manufacturing systems. Mari and Maddy work toward the development of extensible apparel through iterative experimentation. The developmental process is founded upon the desire to create garments and wearables that can be vertically integrated into the domestic manufacturing system, all while being frictionless for the consumer to wear socially.

During their 7 week residency at the VFL, Mari and Maddy developed upon their 8 FOLD concept — a modular and indeterminate form garment — with an intensive study of material science and fabric weaving techniques. Special attention will be paid to understanding and incorporating magnetism and non-Newtonian magnetic liquids (ferrofluids) into their research. By investigating textile development from a math and science perspective, they aim to explore options not previously considered for textiles.

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(January-March 2014) Gabriella Levine creates sculptural and robotic works that mimic environmental phenomena and animal behavior. Her background is in biology and hardware design, and her interests lie within the relationships among technology and ecology.

Since 2010, Levine's work has ben presented globally at symposia and lectures including Ars Electronica, The Science Gallery Trinity College (Dublin), Meta.Morf Electronic Arts Biennial (Norway), Transnatural Arts Festival at Nemo Arts Center (Amsterdam), Eyebeam (NYC), Open Hardware Summit 2011 (NYC), Startup Festival (Bangalore), TEDxNavesink, and DARC (Drones and Aerial Robotics Conference).

In 2012 she received the Prix Ars Electronica Hybrid Arts Award for Protei, the Gulfstream Navigator $100K Ocean Exchange Grant, the Awesome Foundation NYC award, and was an Artist in Residence at Instructables, and Fellow of Unreasonable at Sea. Her work has been written up in Wired, HyperAllergic, CNN, Vice Magazine, Scientific American, and NYTimes.

Gabriella is President of OSHWA (Open Hardware Association), she teaches at the Interactive Telecommunications Program at NYU and CIID in Copenhagen, and can be found working at Floating Point Collective in Brooklyn.




(September-December 2013) Carla Diana is a designer, author and artist who enjoys living as close to the near future as possible. In her studio she works on future-specting projects mixing robotics and sensor technologies with everyday life to create smart objects that can charm and surprise. She is a Fellow at the innovation design firm Smart Design where she overseas the Smart Interaction Lab. Carla has taught and lectured internationally, including a year as visiting faculty at the Georgia Institute of Technology, where she was the creative director for the iconic humanoid robot, Simon.  Her recent article, “Talking, Walking Objects”, appeared on the cover of the New York Times Sunday Review this January, and is a good representation of her view of our robotic future. She is currently working on a children's book about the future of 3D printing.

Emilie Lucie Baltz explores taste. She believes food to be more than flavor and works to create experiences at the intersection of design, photography, performance and curation that provoke the 5 senses. She is a member of the prestigious culinary association Les Dames d’Escoffier. Emilie is the author of the award-winning “L.O.V.E FOODBOOK“, recipient of Best First Cookbook in the World at the Prix Gourmand held annually in the Louvre, Paris; as well as the nationally featured cookbook, “Junk Foodie: 51 Delicious Recipes for the Lowbrow Gourmand“. She has lectured internationally on the power food to transform the lives of creators and consumers and presently working on a third book about American eating habits.

Both women are founding faculty members of the SVA Products of Design program.

During their joint residency, they will explore the dimensions of food by merging the physical and political through the creation of a series of discursive (and delicious) objects. From food service to foodstuffs, their work will exploit the Z-axis, or height dimension, of a meal. They will consider foods suspended from above, laid out as an emergent topography, or projecting outward from a plate or bowl. Though this newly exposed dimension will be used as an element of surprise and delight, it will ultimately reveal meaningful data sets that carry a message about current events in food and politics. The end goal is to enhance the interactive elements of a meal in order to create engagement in bitter subjects through the pleasure and temptation of food.  THE LICKESTRA by Carla Diana + Emilie Baltz from Carla Diana on Vimeo.

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(June-September 2013) Genevieve Hoffman is an artist and designer working at the intersections of research, data, science, sustainability and design. Using digital software and traditional materials, she renders complex systems in tangible forms. Technology is the underpinning of all of her work, as both a medium and subject of inquiry. She is especially concerned with the planned obsolescence built into the disposable culture of our digital era, as well as the relationship between technology and the natural resources that make it possible. Recently, she has explored non-monetary currencies, the forces and interrelated systems of the global economy, and the infrastructure that makes it all run.

She has exhibited at galleries and festivals including: 3LD Art and Technology Center (NY), 319 Scholes (NY), Intersection for the Arts (CA), Urban Prototyping (CA), Athens Slingshot (GA), University of Buffalo (NY), and the New York Hall of Science (NY). Her work has appeared in publications such as Good Magazine, The Atlantic, Architizer and Gizmodo, and she has spoken at various universities, including the Rhode Island School of Design, University of Georgia, and SUNY Stonybrook. Genevieve graduated from Brown University with a BA in Visuals Arts, and a concentration in New Media. She is the recipient of a Creative Arts Council grant from Brown University and a Tisch School of the Arts Graduate Fellowship. She received her Master’s degree from the Interactive Telecommunications Program at NYU in 2013

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(March-April 2013) Conor Klein is a designer and maker based in New York City. In 2010 he received a BFA in Furniture Design from the Rhode Island School of Design and now collaborates with designers and artists to create furniture, objects and installations. Before RISD, Conor briefly studied engineering in San Francisco. Before that, he was born and raised in Scottsdale, Arizona.

During his residency with the Visible Futures lab, Conor Klein investigated  the relationship between the written word and the designed objects they appear on.  This relationship is complex but crucial, with words often saying what cannot be said otherwise.  Beyond clarifying what the object is and how to use it, material language can imbue context, authenticity and value.  Likewise, the reading of the words is affected by their physical manifestation.
Through the careful merging of text and form, the objects he created speak about themselves, each other and their place in our lives.  Encapsulating all of these points of view, the work is a mouthpiece for the artist’s own voice, which considers the narrative of design and our interaction with the designed world.


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(February-March 2013) Adam Matta, a human beatboxer and vocal performance artist from New York City. His style fuses elements of hip-hop, rock, electronic, jazz, contemporary and Middle Eastern music, sometimes all in the same composition.

He has performed solo shows at Joe's Pub, the New Museum for Contemporary Art, Galapagos, PS 122, La Mama and Here Arts Center, and with Bobby McFerrin at Carnegie Hall and House of Music (Moscow). He appeared with The Carolina Chocolate Drops, in concert, on their recordings including The Hunger Games Soundtrack and their 2012 release, Leaving Eden, which has been nominated for a Best Folk Album Grammy.

Adam's music has appeared on NPR's Morning Edition, Weekend Edition and All Things Considered, in Benson Lee's documentary Planet B-Boy and in The L Word. He has also been featured as 'Boxman' in In Transit, an a cappella musical developed at the Eugene O'Neill Theater Festival in 2008, and in Beatbox Bard, a 2007 play directed by Bruce Levitt at Cornell University where beatboxing was mixed with Shakespeare. He has appeared on Damon Wayans' The Underground, CUNY-TV's Art or Something Like It, and on PBS's The Electric Company.

For his residency with the Visible Futures Lab, Adam explored the intersections of sound and the plastic arts (painting, sculpture, etc.) with respect to performance and emerging technologies, drawing connections between the vocally-produced sounds and their non-narrative nature.  Using Max/MSP Adam built a digital interface that allowed him to trigger projections of urban imagery and scientific diagrams with the sounds he creates in a live beatboxing (vocal percussion) performance. Adam anticipates his interface will be used by actors, spoken word artists and musicians to augment their live performance with dynamic visual imagery.

(November-December 2012) James Bridle, writer, artist and publisher, usually based in London, UK. His work covers the intersection of literature, culture and the network. He writes for a range of publications online and off, including a regular column on digital literature in the Observer, and speaks at conferences worldwide. His work can be found at http://booktwo.org. A project blog can be found at http://onevisiblefuture.tumblr.com/.

In 2011, he coined the term “New Aesthetic”, and his ongoing research around this subject has been featured and discussed worldwide. His work, such as the Iraq War Historiography, an encyclopaedia of Wikipedia Changelogs, has been exhibited at galleries in the US, Europe and Asia, and has been commissioned by organisations such as Artangel and Mu, Eindhoven. In 2012 he was a Happenstance resident at Lighthouse Gallery, lectured as part of the 4 Thought series on BBC Radio 4, contributed to the Istanbul Design Biennial and Guimaraes 2012 European City of Culture, and was adjunct professor on the Interactive Telecommunications Programme at New York University.

For the Visible Futures Lab residency at SVA, James explored ways of visualising the network, with an emphasis on surveillance and automated systems, from digital photos, to cctv and military drones. The network is the internet and us, it is where we conduct much of our leisure and labour time, it is where we interact with one another, with employers and other businesses, and with the state. It is also ill-defined, intangible, and interwoven with everyday life. The challenge of the network is to make it real enough to approach, touch, and understand.

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