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Distributed Object Framework v.1

By | blog

The Distributed Art Object Framework

A note:

This document is the result of several years of conversation stemming out of a digital art provenance project called Moving Pictures Gallery. It is by no means complete. There are many areas that need to be examined and unpacked, however this is a first step at defining a foundational layer from which other things can emerge.

I incubated MPG with Benton-C Bainbridge in 2016. Benton had previously been discussing digital objecthood for several years in the context of the Ethereum blockchain. While our work together congealed many of these ideas, the baseline distributed object system outlined below should be primarily credited to him. My work is in solidifying and articulating a generalized version these ideas to the public and unpacking the implications so we can proceed accordingly.

During my work with Moving Pictures Gallery I became more interested in the blockchain as a liberatory medium, with programmable flexibility that would enable groups of people to wield power within the larger macro economic framework in previously impossible ways. It wasn’t about putting pre-existent “art” (however one may define it) on a blockchain, but about groups of digital artists forming a soft union through smart contracts to participate in the secondary market for their labor.

I later became interested in the blockchain as the site of the art itself, rather than a contrived market for selling atomized digital warez. At every intersection of a technological shift we use old metaphors for new systems, try and put the radio on tv, tv on the internet etc. We need a new art for a new world. Art as contract is well established territory, at least since Marcel Duchamp released his own bonds in the early 20th century. As the art object de-materialized into conceptual art and performance, the legal system caught up by creating art contracts stipulating what the nature of the work was, so that it could be commodified by collectors. Lauren Van Haften Schick’s input initially invoked my own artistic development of smart contract art objects.

During this stage of my process, the Moneylab extension group at the University at Buffalo was instrumental in exposing me to academic critique of distributed currencies and the perils of applying free market principles to culture.

To that extent the project of the distributed object requires we think beyond our current frameworks and biases to re-imagining property as a type of open source digital commons. This does not abolish private property or ownership nor does it seek to. What I seek to introduce here is multiplicity, where various types of ownership and community can exist in simultaneity. Through this we can articulate a flexible framework for the emerging distributed political reality.

The issue with blockchain development as it currently stands is that most of the actors in the space are privately funded companies trying to OWN the idea of distributed property and leave their mark on the protocols and frameworks that define what it is. Indeed the necessity of capital investment requires a myopic view of intellectual property so a monopoly can be formed. It is good business. However on a fundamental level, if you follow the logic of dis-intermediation, no one can own any-thing, any more then we can own the concept of beauty. We can try, but it is morally reprehensible, and indeed practically impossible.

What we need now, more than ever are systems of collaboration and cooperation, that enable us to instantiate new forms of community and catalyze our own form of value. If we can think beyond conventional forms of wealth and money, we can think beyond conventional forms of relationship, and in doing so unlock the latent potentiality of all things. For indeed all beings throughout the universe, from earthworms to stock brokers have value and are worthwhile of respect and dignity.

What I ask of you is impossible. But I persist in my efforts nonetheless. What I ask is simple and straightforward, like an invitation to the prom. However this is a different type of prom. I want you to suspend your disbelief that another way is possible. I want you to believe, if even for a moment, that we have the power to shape a new world. Ground yourself in this freefall, and try and sculpt the air in the twilight darkness of the unknown. Sing and hear the extended reverb of your voice against the architecture of of a place which has yet to be built. You and only you have this power to see, and if enough of us choose to see together, a form may start to emerge from the darkness, glimmering.

  • Eric Barry Drasin, July 5 2019

Introduction

The goal of the distributed object framework is to provide a technological and legal context for the creation of  non-fungible digital assets. This solution could begin to address the problem of perpetual storage, therefore enhancing the distribution of digital art, video and other time based media, and to provide a basic rubric for the buying, selling, collecting and licensing of digital media art.

The distributed art object could be defined as a specific digital file, group of files, set of instructions, documentation, or iteration of media file, set of code, connected assets in accordance with set of instructions left by the artist. Because digital media is subject to rapid obsolescence, part of the distributed object must account for what the parameters of the work are, so that it can be modified and updated over time. In other words, the artistic work must be defined in the contract so that its boundaries are known for reconstructing the work for future exhibitions when the entire technology underpinning the work has likely changed.

In addition, a smart contract will be used to define each work and the rules for it’s display and distribution (a license), and based on the smart contract attribution metadata, we will issue a blockchain based certificate of authenticity for each artwork. This organization of files, metadata, contract and token define what we call a distributed art object. It is in this way we solidify a non fungible asset in what is otherwise an ephemeral medium.

By using the distributed object framework, we can encode behaviors into the object that creates new, flexible forms of ownership, distribution of ownership, and value.

What is the Utility?

The function of the Distributed Object is that it is a digital asset that can move seamlessly between distribution, viewership and provenance frameworks. This means that the object is not bound to one service or platform in order to legitimize its existence. The current paradigm for assets purchase in video games, or digital art purchased on platforms, is that the objects are dependant on the platform from which they were purchased. The distributed object does away with those boundaries by creating digital assets which can be seen and modified independent of what system they are in.  In this sense, the object, not stored in any specified server, whose meta data can be accessed by anyone capable of looking at the blockchain, can then be bought and sold through any number of services and marketplaces.

The distributed object framework is an agnostic system consisting of a set of tools that substantiates a digital file, set of files, instructions, relationships and ownership. It is the confluence of these separate components that enables the distributed object to exist. The distributed object cannot exist without all of these components working together.  The distributed object is a digital asset given materiality.

Re-materialization

Through this technological and legal stack, the digital object is now something that can be both owned and controlled in novel ways as indicated through the description of the smart contract and certificate of authenticity. Any instantiation of the object, either digitally or in physical space is only a reference to the distributed object which exists in through distributed platforms. Within this context the re-materialization of the art object is not the thing itself, therefore once tokenized it cannot be bought or sold without the sale going through the smart contract.

Ownership, licensing and scarcity are now things that can be modulated and controlled from the outset of the distributed objects creation. Different monetization strategies can be employed through the use of smart contracts and smart tokens, which enables the artist, collector or fractional owner of the intellectual property to earn revenue through different means. This includes but is not limited to, unique singular digital assets, multiples created from an original source file, licensing schemes that remunerate the owner for use of the object, or creative commons licenses that stipulate the conditions of remix and reuse. Artists can participate in the secondary market through resale royalty schemes built into the smart contract that mediates the sale of their work.

The eventual employment of blockchain enabled wallet viewers, will further give control to the creator of the distributed object as to how and by whom their IP can be viewed. In the case of the fine art collector, their distributed art object, once purchased from the artist, may be locked away in distributed storage until the rights have been purchased or licensed by a museum or gallery.

In the event that the file is copied for exhibition, it still doesn’t affect the ownership rights of the material and is still subject to copyright enforcement by the country of origin.

We cannot change the fundamental nature of digital materiality as a substrate. Digital files are inherently copyable. But using the distributed object stack, we can now employ ownership strategies that enable new forms of collection, sharing, and licensing.

Eventually, the use of “wallet viewers,” or digital rights management tools will be built into browsers which will enable the owners of the distributed object to exhibit, loan, or broadcast their artwork in numerous configurations.

Defining a community context for the distributed object

While this document seeks to define the concept for a distributed art object, at this point I am primarily invested in maintaining the idea of the distributed object as part of an open source digital commons so that no part of the protocol can be monetized or monopolized.

I believe that this framework should be developed as platform agnostic as possible, with an easy to use user interface that makes it easy for artists to leverage their collective power in the marketing of their own work.

Furthermore, the concept for what an object is, how that object exists could be radically envisioned. Up to now we separate the concept of the object from the community that creates it, and the object circulates through a network of elite institutions and collectors. What about communities of practitioners that aren’t producing objects? This begs further examination as to what the nature of art is and how it functions within different cultural ecologies.

For instance, in the digital attention economy, the means of distribution retroactively influences the type of art that is produced. We create content for the platform we intend to share it on. We compete for attention which is monetized by that platform and not distributed back to the creator.

The idea of artists participating in the secondary market is radical, in as much as any content creator is currently shut out of the wealth they create by the extraction economy. However is there a bigger picture here that we are missing?

Further Questions:

  • How do we think about the future of digital property, and tie it to the process of cultural production?
  • Is it possible for us to create a fluid definition of art that helps determine how we develop the underlying technologies, rather than the other way around?
  • Can we create digital economies that aren’t subject to a speculation market? Can digital cultural production be envisioned as a platform cooperative?
  • If we re-imagine money, we re-imagine relationship. Does the concept of property as an open source digital commons have implications for how we treat relationship?
  • Can we create localized co-investment economies that create networks of accountability? Can art serve as a prototyping environment for how this could work?

Distributed Object Framework V.1

  • Hashed file
    • Files is zipped, hashed, uploaded to IPFS
    • Any file, or set of files can be uploaded this way
  • Social announcement
    • Legally binding announcement via twitter
    • Contains file hash, ipfs hash, public wallet address where token is stored
  • Distributed storage
    • IPFS
      • Upload zipped file
      • File becomes immutable and indelible once uploaded
      • Issues location hash
      • Redundant json file for metadata
  • Smart contract
    • States parameters of the work
      • Individual to each work
    • Transfers ownership of the COA
    • Artist resale royalties
      • Automatic percentage of resale of token distributed to artist’s wallet
    • Issues token signifying ownership
  • Certificate of authenticity
    • Embedded on the blockchain
    • Embeds IPFS location hash
    • Embeds file hash
  • Token
    • Issues ERC-721 token
    • Token contains metadata pointing to the other information
      • Ipfs hash
      • COA hash
      • File hash
    • Token could be eventually used for access to file through wallet viewer

Tier Two

  • Wallet viewer
    • Manages user identity on the system, by tokens, enables access to the work
    • Complex modular licensing schemes

 

Diggers @ Uncompressed 1.20.18 3LD NYC

By | 2018, blog
Diggers documentation from the Uncompressed series at 3LD last month in NYC. (slightly edited to trim the part where I prostrated up and down the projection surface in the dark for 5 minutes 🙂
 

 
Thanks so much to James Cao for producing the show!

Fast Food Music Video

By | 2012, commercial

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fastfoodmusicvideoredux

 

 

FFMV was the first project of the Fast Food Collective.  It was an attempt at an experimental platform for DIY music video production and distribution. We were trying to change the idea of what and how a music video is. Developing a concept called social cinema, we employ radically different techniques towards the creation of music videos involving audience participation, cutting edge technology, Absurdist spectacle, non linear story telling, collaborative process and the distribution power of online publishing.

Check out the  Fast Food Music Video Website

L’Homme

By | 2011, commercial

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I directed this really insane music video for Rubblebucket’s single “L’Homme” off their album Omega La La. It features some of my favorite beautiful men striking poses, video scratching, feedback, and lots of bad keying.

It dropped (8/1/11) on music blog Consequence of Sound.

Heres a blurb we wrote to explain it:

The L’homme music video for Rubblebucket, (literally translated as
“The Man”) engages the audience in a hypothetical reversal of power by
eroticising the image of big brother and reimagining him as a
beautiful man. Originally conceived as a tryptich for live
performance, 3 performance artists were filmed making gestures at the
camera. Recontextualizing these images for the music video, they
were then processed, scratched, glitched and rescanned in real-time
using custom video processing system designed by video artist/director
Eric Barry Drasin. Combined with footage later shot of lead singer
Kalmia Traver, Drasin weaves a psychadelic landscape that playfully
pokes fun at power relations between the watcher and the watched.

Featuring Performances by:

Jesse Super Levy of the Levites,
David M. Kline
Ian Fishman
Kalmia Traver (Rubblebucket)

Cinematography by:
Scott Schweizer
Sidharta Pascual
Benton-C Bainbridge

Makeup Design:
Abby Weg

Rainbow Thieves

By | 2011, commercial

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ARscreen

Hybrid inflatable, augmented reality sculpture

For the 2011 Bushwick Open Studios, Sean McIntyre, Jenn Park and myself made a giant inflatable rainbow that vomited out of our 3rd story kitchen window into the empty lot next door.  When people from the street walked by, the had the opportunity to see a custom augmented reality overlay sculpture we put over the empty lot.  rainbowslug pot1 flyer

Brooklyn Electronic Music Festival

By | 2013, commercial

 

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Eric Barry Drasin @ Glowing Pictures BEMF 2013 Realtime Visuals Excerpts from Eric Barry Drasin on Vimeo.

 


Eric Barry Drasin did a VJ performance for Glowing Pictures at the Brooklyn Electronic Music Festival Glasslands Stage. For this performance he used ZERO pre-recorded video content. All video was created in realtime and looped to go with the music that was being performed on stage. This video is a compilation of some of the content that was created over the course of the evening.

Music by DJ Sliink from his Soundcloud Page.

ericbarrydrasin.com
glowingpictures.com

Lost Property Unit

By | 2013, 2014, commercial

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Lost Property Unit – Beat Repeat from Eric Barry Drasin on Vimeo.

Lost Property Unit Night 2 jan 2014 from yuditskaya on Vimeo.

 

Lost Property Unit @ Gov’s Island from yuditskaya on Vimeo.

Choreography: Mei-Yin Ng
Projection Design: Sofy Yuditskaya
Additional Projection Design: Eric Barry Drasin
Lighting Design: Poe Ayumu
Sound Design: James Lo

In October of 2013 I started a residency on Governors Island with Sofy Yuditskaya and Choreographer Mei-Yin Ng on a multi-media dance performance. Here is some documentation of the works in progress showcase on the Island. The piece is in production for a showcase in early February 2014 as part of “HERE” Culturemart.

In “Lost Property Unit”, New York City’s own chartered dance explorer Mei-Yin Ng opens an investigation into the bodily and soul-driven limits of surveillance, networking, and media. Dance, robotic sculpture, and a time bending blend of live and recorded video craft a chilling narrative of a beautiful recluse and the cyborg pet who is anything but her best friend. Quoting and re-writing Hitchcock’s thrillers, Wong Kar-wai’s nostalgic romances, the science fiction of Twilight Zone, and the canon of Chinese mythology, “Lost Property Unit” lures us into a head space where solitude is never total and togetherness is always just out of reach.

The Secret Soup

By | Uncategorized

 Screen Shot 2014-10-31 at 12.54.29 PM

Secret Soup Performance in Flint MI

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Secret Soup is in Your Shoes, (Multi-Channel Installation) All that Glitters, Solo Project House, Newark NJ

Description

The Secret Soup is a digital real-time system for improvised audiovisual composition. Referencing audiovisual synthesis techniques, custom interfaces control LFO waveforms and looper with 1:1 audiovisual counterpart. Lines move across the frame while the oscillators are played to create an audiovisual gesture.

In a constant state of revision, the process has been realized as solo audiovisual performance, immersive interactive projection mapped installation, gallery installation, and as a score for intermedia performance ensemble.

The improvisatory nature of the score allows for constant recombination, breaking down the relationship between preconceived meanings and conceptions.  Language is sublimated into feeling, tone, texture so the habit of its construction can be stripped and a new way can be found.  Emulating the basic relationships of electronic signals allows me to “speak” in this energy. In this way, new meaning can be explored, probing in real-time for the sudden revelation that can occur through an integrated and fully authentic gesture.

Selected Solo Performances:

12.19.14 Fast Food Collective Presents – Single Channel Cheeseburgers @ Secret Project Robot

2.21.14 Single Channel Cheeseburgers @ Outpost Artist Resources

3.2.14 Distended Cinema @ Outpost Artist Resources

Intermedia Ensemble:

5.2.14 Lab No. 3 @ Launchpad Brooklyn

Gallery Shows:

Jan – March 2014, All that Glitters, Group Gallery Show @ Solo Project House Gateway Center, Newark NJ

June – August 2014, The Luminous Surface @ The Mission for Temporal Art, Marshall, North Carolina

Immersive Installation:

May 2014 Generative Soup, Interactive Tether Ball, Projection Mapped House, commissioned by Disorent for Disorient Country Club, Skandanken NY

August 2014, Free City Flint, Projection Mapped Performance, Flint Michigan

 

for booking please contact me directly @ eric (dot) drasin (at) gmail (dot) com

Lost Property Unit

By | 2013, 2014

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Lost Property Unit – Beat Repeat from Eric Barry Drasin on Vimeo.

Lost Property Unit Night 2 jan 2014 from yuditskaya on Vimeo.

 

Lost Property Unit @ Gov’s Island from yuditskaya on Vimeo.

Choreography: Mei-Yin Ng
Projection Design: Sofy Yuditskaya
Additional Projection Design: Eric Barry Drasin
Lighting Design: Poe Ayumu
Sound Design: James Lo

In October of 2013 I started a residency on Governors Island with Sofy Yuditskaya and Choreographer Mei-Yin Ng on a multi-media dance performance. Here is some documentation of the works in progress showcase on the Island. The piece is in production for a showcase in early February 2014 as part of “HERE” Culturemart.

In “Lost Property Unit”, New York City’s own chartered dance explorer Mei-Yin Ng opens an investigation into the bodily and soul-driven limits of surveillance, networking, and media. Dance, robotic sculpture, and a time bending blend of live and recorded video craft a chilling narrative of a beautiful recluse and the cyborg pet who is anything but her best friend. Quoting and re-writing Hitchcock’s thrillers, Wong Kar-wai’s nostalgic romances, the science fiction of Twilight Zone, and the canon of Chinese mythology, “Lost Property Unit” lures us into a head space where solitude is never total and togetherness is always just out of reach.

Vornado Reality Interactive Kiosk

By | 2013, commercial, Uncategorized

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Working with Oxygen Lightworks, I designed an interactive display system for Vornado Reality in NYC.  Vornado needed a slick solution that their sales team could use to show different property configurations in one of their flagship corporate office buildings in Midtown Manhattan.   I built an iPad interface that allowed sales associates to wirelessly control a video and lighting installation while talking to prospective clients.  The iPad interface had a page of buttons consisting of main cues which would change the videos playing on 2 projection screens and adjust the lighting in the room.  The other iPad screen's buttons would up all of the different architectural plans.

The Secret Soup Is In Your Shoes

By | 2014

facebookpic

The Secret Soup Is In Your Shoes (2014)

Solo Project House Gallery @ Gateway Center, Newark NJ

A multi-channel audiovisual installation by Eric Barry Drasin.  Based on the “Secret Soup” performances, this installation fragments and spacializes the piece into an ambient multi channel work that implies a type of healing circle.

The piece consists of 7 looping DVD’s.  The piece is designed to be displayed on 7 sequential television monitors placed on folding chairs, with an eighth empty chair.

About The Secret Soup:

The Secret Soup is a realtime system for improvised audiovisual composition.

The work is improvised as a direct expression of spontaneous ecstatic experience, flickering and shimmering as layers of energy are built up and explored.  Each pass through reveals a new level of complexity as forms grow and evolve.
Referencing audiovisual synthesis techniques, custom digital interfaces control two

oscillators and looper with 1:1 visual counterpart.  Lines move across the frame while the oscillators are played to create an audiovisual gesture.  This gesture is looped and a new gesture is  created forming a call and response using waveforms as

the vernacular.  In this way a tableau is sculpted and layered to create rich tapestries of light and sound.  A narrative of abstract forms emerges as the composition becomes more dense and complex over time.

The piece exists simultaneously as a “living system,”  an immersive installation and a performance.  The system is living, in that it is constantly evolving and new relationships between sound and light are readily mapped as the system changes.  Each performance is both unique to the moment of conception and recorded to preserve that specific iteration.

Brooklyn Electronic Music Festival

By | 2013

Eric Barry Drasin @ Glowing Pictures BEMF 2013 Realtime Visuals Excerpts from Eric Barry Drasin on Vimeo.

 


Eric Barry Drasin did a VJ performance for Glowing Pictures at the Brooklyn Electronic Music Festival Glasslands Stage. For this performance he used ZERO pre-recorded video content. All video was created in realtime and looped to go with the music that was being performed on stage. This video is a compilation of some of the content that was created over the course of the evening.

Music by DJ Sliink from his Soundcloud Page.

ericbarrydrasin.com
glowingpictures.com

Calvin Klein Video Wall

By | 2013, commercial

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Calvin Klein was premiering a 2014 product line to potential buyers.  Working with Perception AV, I created a seamless, edge blended wall for the fashion show.  Using Pandora’s Box Media servers, I aligned and blended the three screens so it appeared like a perfect seamless texture across the entire wall of the event space.

Architizer 2013 Awards Ceremony

By | 2013, commercial

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Architizer A+ Awards Gala from Architizer on Vimeo.

Working with Architizer and Perception Audio-visual Services I designed all of the content for Architizer’s 2nd International Architecture Awards Ceremony, held at Cedar Lakes Event Space in NYC.   There were two 3 screen wide video walls behind the bars, as well as a 4×4 video wall on the main stage.  I used a combination of animation and presentation technologies including Keynote (believe it or not) to quickly build and modify the presentation and looping visuals for the show.

 

Four Stories Launch Party – Vice, W Hotel, Dell

By | 2012, commercial

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vicemagazine

fourstories_web01 fourstories_web03

 

 

I collaborated with my friend Matthew Caron on video design for the Four Stories Launch Party at the W New York Downtown on August 9th, 2012

We created a custom video remix for the launch as well as motion graphics inserts designed as interstitials for the party.  We then took everything and remixed it live through our custom VJ software creating an unforgettable experience for all event attendees.

The scene on the red carpet of W New York – Downtown was electric Thursday night as Roman Coppola, The Directors Bureau, W Hotels, and Intel kicked off Four Stories, a short film series and competition. The party inside the hotel was even livelier than the scene on the street. DJ sets by Michaelangelo L’Acqua, W Hotels global music director, Theophilus London and DJ EIKO from Tokyo rocked the crowd. Michael Pitt and James Ransone — who are members of the competition’s judging panel — joined about 200 cinema-loving revelers to celebrate the opening of Four Stories. Roman even delivered a toast to the spirit of creativity, innovation, and collaboration.

W New York Downtown’s living room was decked out with large-scale movie posters, cinematic projections and an interactive display. Intel-inspired Ultrabooks™ powered cutting edge animated GIF booths that virtually transported guests to four iconic W Hotels destinations across the globe. Roman and his production company, The Directors Bureau, will produce four short films at W Hotels in Doha, Mexico City, The Maldives, and Washington DC.

Readymade Holiday Recycle Station

By | Uncategorized

I was commissioned by the NY Hall of Science for the “Re-Make the Holidays” event. We designed an interactive video installation where electronic sensors embedded in everyday products would glitch, scratch and warp christmas videos advertising those products.

Producer – Eric Barry Drasin
Programming – Zephyr Prusinski

Rebirth into the Ageless

By | Uncategorized

In 2012 I was reborn into the Ageless.  It signified my dis-identification with age based narrative.  As it was my last birthday party ever, and it needed to count.  We had a Balkan Brass band, the Slavic Soul Party follow us  on the subway out to the water were we performed a rebirth ritual based on a Voodoo rock band from the 70’s.  Dressed in black, I carried a shovel with me to the beach where I dug my own grave.  The party took turns burying me alive while  Jesse Super Levy of the Levites, aka the White Wizard of the North, Comma, Jersey officiated.  After reciting the Yiska, I was triumphantly reborn as the Obeah man, a mythical figure of power and virility, and led the party in a totally sweet jam.

The First AlChemical Bank of Public Square

By | 2011

alchemicalbankThe First AlChemical Bank of Public Square was a public art project executed in conjunction with the Occupy movement of Fall 2011, in Watertown NY. Setting up a gift economy bank in the center of town, protesters and passers by were asked to engage with a process that transmuted possibility into self actualizing social currency. These were formalized in gift certificates acknowledging the validity of these desires in the public and private spheres. Protesters were asked to “cash in” their picket signs and then redesign new picket signs actualizing their ideas of what they wanted in the present. The local media picked up on the protesters and we made it onto the local news for the North Country that day!

Silence Club

By | 2012

http://bushwicksilenceclub.tumblr.com/

The Bushwick Silence Club is dedicated to sitting in silence and staring at the wall. We do not talk, fidget, or think.  We do, nothing, in Bushwick, Brooklyn. Our practice is familiar to those who engage in mindfulness meditation, however it is not limited to any sect, tradition or belief. We do not have teachers, gurus, crystals, or dreamcatchers. Only a cold concrete floor. Which is its own dreamcatcher.

We meet for one hour every Sunday.

silenceclub

Fast Food Music Video

By | 2012

fastfoodmusicvideoredux

 

 

FFMV is an experimental platform for DIY music video production and distribution. We are trying to change the idea of what and how a music video is. Developing a concept called social cinema, we employ radically different techniques towards the creation of music videos involving audience participation, cutting edge technology, Absurdist spectacle, non linear story telling, collaborative process and the distribution power of online publishing.

Check out the  Fast Food Music Video Website

Rainbow Thieves

By | 2011

ARscreen

Hybrid inflatable, augmented reality sculpture

For the 2011 Bushwick Open Studios, Sean McIntyre, Jenn Park and myself made a giant inflatable rainbow that vomited out of our 3rd story kitchen window into the empty lot next door.  When people from the street walked by, the had the opportunity to see a custom augmented reality overlay sculpture we put over the empty lot.  rainbowslug pot1 flyer

John Freida @ The New Museum

By | 2011, commercial

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For the John Frieda product launch, we worked with Perception Audiovisual to provide an immersive video installation in the sky room at the New Museum.  There was a super wide LCD video wall, floor projection, LED curtains and holographic product displays that we designed video for.   Showcasing the “foaming” quality of the product, we literally COVERED the entire room with foam during the reveal moment.

Content Direction:  Eric Barry Drasin
3D motion graphics: Jeanne Angel
Production/Media Servers: Perception Audiovisual Services

The First International Symposium on Speed Metal Drumming and Arts in Education

By | 2011

Dungeon Master fliers
Dungeon Master and Nsumi Collective presented “The First International Simultaneous Speed Metal Drumming Symposium on Arts and Education” at Postmasters Gallery in NYC, on June 26, 2011. This was part of the “Being and Event” evening that was presented by Artist Meeting. Sponsored by Guitar Center.

Dungeon Master, the worlds most brutal academic speed metal powerpoint band, gave opening plenary statements involving a powerpoint lecture about the teleological relationship between, time, the universe and geographic formations on planet earth. Lead Lecturer Harry Merrit was backed by a Speed Metal trio, fog machines and laser pointers to help emphasize the key points in the presentation. Following this was a panel discussion by distinguished speed metal drummers where the panelists answered questions delivered by electric guitar “shred” by one minute rhythmic response. This was followed by a question and answer period with the audience.

This is the MC reading the Memorial Day Guitar Center specials to a crowd of eager fans.

And heres some stills from the Powerpoint

Produced by Dungeon Master and Nsumi Collective

Creative Direction and Production Management – Eric Barry Drasin

Lead Lecturer – Harry Merrit

Musicians:
Pete McHugh
Mike Amacio
Eric Barry Drasin

Drum Panelists:
Greg Fox
Oren Canfield
Cameron Wisch
Matt Gaffney
George Demora

Becca_Scroll1

Becca_Scroll2

 

Brooklyn Night Bazaar December 16th, 2011.

By | 2011, commercial

I constructed a live processing system using a wireless barbie camera and a wiimote nunchuck so that I could have a sweet video jam with Matthew Caron on December 16th, 2011. It was at this huge warehouse in Williamsburg called the Brooklyn Night Bazaar and it was presented by Brooklyn Vegan. Matt had the foresight to bring a VHS deck with him to record what we wound up doing that night, and also managed to get a clean audio recording off of the soundboard. HE combined a recording of our output along with audio from the soundboard to create this instant music video of the bands. Here are some of the videos.

10/25/09 with Images

By | 2009

Live video performance with Images in support of Genesis P-Ourridge (of Throbbing Gristle) at Purchase College. Live camera by Pete McHugh who crawled around on stage with a flashlight while I processed the live footage with layers of feedback and delay.

Band:
Images – Scott Davis, Kai Lord Farmer

Cameraman: Pete McHugh

Video artist: Eric Barry Drasin

Cameron Wisch Collaboration

By | 2009

I created a performance with drummer and friend Cameron Wisch involving acoustic drums, glowsticks, fog machine, live camera, projection, audience participation and audio reactive light processing. Cameron performs on an acoustic drum kit along with laptop
computer as Eric Drasin beams laptop projections onto the audience and
stage. A camera captures the movement of the audience and is analysed
by the laptop to form a ‘feedback loop’ of light, echoing and
enhancing the energy of the room.

Grants:

Experimental Television Center Performance Grant

Shows:

4/09 – Hudson Valley Contemporary Art Center – w/ Terror Pigeon Dance Revolt
6/29/09 – Silent Barn
08/09 – The Tank NYC – with Benton-C Bainbridge and Bobby Previte performing “Dialed In.”

Marc Jacobs and Rob Pruitt MOMA PS1 Installation

By | 2010, commercial

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I produced an interactive video installation for Marc Jacobs and Rob Pruitt at MOMA PS1 for their MOVE! Halloween Weekend Extravaganza. We created a custom video processing system that performed a delay on a 3 incoming live camera feeds of people walking up and down a blue runway, and we then subtracted the background in real time using a Difference Matte and composited footage from a real Marc Jacobs runway. And Rob Pruitt made a bunch of wavy mirrors. People got to feel skinny. And famous.

New York Magazine had some nice things to say about it.

A pic showed up in the New York Times Style section

http://www.nytimes.com/slideshow/2010/11/01/fashion/20101101-visionaire.html

Producer:
Eric Barry Drasin

Onsite Production Manager:
Reid Bingham

Programming:
Jeanie Angel

Installation:
Brendan Byrne

Synthetic Miracle – Videodrums Performance

By | 2010, commercial

In late 2010 I developed the first iteration of the Videodrums instrument. This is the first show I played using the system at Troutman Hall in Brooklyn. The Videodrums work by allowing me to trigger and control effect parameters on video clips and audio clips simultaneously through a midi drumset. The drums wound up being the most tactile and fun way to perform video that I’ve encountered so far.

One Minutes

By | 2010

One minutes is a series of one minute audiovisual collaborations between myself and a contemporary composer. This set was done in 2010 with composer Micheal Sperone.  Sets of five will be completed until 50 have been produced, at which time a gallery show will be mounted.  Ongoing works are posted at http://oneminutes.tumblr.com  .

text from DVD jacket:

“In the late spring of 2010, video artist Eric Barry Drasin approached composer Mike Sperone about collaborating on a series of one minute audiovisual compositions. They did not verbally discuss them outside of short emails. They started by creating a single composition that the other would score and then extend another minute. In this way they could start to develop the beginnings of an audiovisual language. In August of 2010 Eric joined Mike for a week at Better Farm in upstate New York where some of this material was also made. “

 

Simultaneous Invocation

By | 2009

In late 2009 I shot the beginning of an audiovisual score entitled “Simultaneous Invocation.” The piece was never completed but it was realized as an audiovisual composition for videodrums and guitar at Silent Barn in the spring of 2011.

L’Homme

By | 2011

I directed this really insane music video for Rubblebucket’s single “L’Homme” off their album Omega La La. It features some of my favorite beautiful men striking poses, video scratching, feedback, and lots of bad keying.

It dropped (8/1/11) on music blog Consequence of Sound.

Heres a blurb we wrote to explain it:

The L’homme music video for Rubblebucket, (literally translated as
“The Man”) engages the audience in a hypothetical reversal of power by
eroticising the image of big brother and reimagining him as a
beautiful man. Originally conceived as a tryptich for live
performance, 3 performance artists were filmed making gestures at the
camera. Recontextualizing these images for the music video, they
were then processed, scratched, glitched and rescanned in real-time
using custom video processing system designed by video artist/director
Eric Barry Drasin. Combined with footage later shot of lead singer
Kalmia Traver, Drasin weaves a psychadelic landscape that playfully
pokes fun at power relations between the watcher and the watched.

Featuring Performances by:

Jesse Super Levy of the Levites,
David M. Kline
Ian Fishman
Kalmia Traver (Rubblebucket)

Cinematography by:
Scott Schweizer
Sidharta Pascual
Benton-C Bainbridge

Makeup Design:
Abby Weg