NYCR 2025 The Interactive Show
Introduction[edit | edit source]

Theme[edit | edit source]
Internet of Strings
Date[edit | edit source]
June 14th, 2025, 6pm Eventbrite Link
Art[edit | edit source]
Alex Panait, Arcade Commons New Arcade Showcase[edit | edit source]

Arcade Commons brings two new indie arcade machine projects that were built in Brooklyn thanks to Resistor: WeatherSys Admin (a multi-game weather station experience) and Nightmare Kart (an spooky kart racer turned gothic contraption).
Instagram: https://www.instagram.com/arcadecommons/
Angel Ye, Conversations [edit | edit source]

Two blinds are suspended facing each other, on each of them are projected motion and sound sensitive Touchdesigner visuals. One blind has sound sensitive visuals, it reacts to music and flares according to sound. The other is motion sensitive, reacting according to how a person moves via webcam.
Instagram: https://www.instagram.com/l1ghtbeing/
Arden Schager, Trying Its Best [edit | edit source]
Trying Its Best is a kinetic sculpture that animates worm-like strands of wooden disks using stepper motors, strings, and an ESP32 microcontroller-driven system. Suspended beneath a bark- and lichen-covered housing, these hand-cut shapes twitch, sway, and strain—like a nervous system made of wood and gravity. The structure is supported by hand-welded metal legs, merging natural and synthetic materials in an uncanny misunderstanding of a tree.
Chris Cortier, High Strung [edit | edit source]

A set of 1-4 solid metal wires/strings are clamped to the superstructure of a building. The length of the wires can vary based on available space, but 20-70 ft of unobstructed linear space is best. At one end of the wires, electromagnetic guitar pickups are used to amplify the vibrations, as the wires are excited by spinning magnetic disks, violin bows, and fingers. Without using any audio effects, bizarre reverberant soundscapes are created as sound waves propagate across the wires again and again. Ghostly choirs that change pitch as different harmonics of the wires are excited magnetically meet cosmic whale calls when the strings are rubbed with rosined fingers.
The instrument is often positioned above the audience's heads and played from a balcony and/or ladder, but it can also be set up at lower levels, which could also allow for audience interaction and performance with the instrument.
Placard text: A set of 1-4 solid metal wires/strings are clamped to the superstructure of a building. Without using any audio effects, bizarre reverberant soundscapes are created as sound waves propagate across the wires again and again.
Instagram: https://www.instagram.com/ironeggmusic/
Cyril Engmann, LuxoPi Jr[edit | edit source]
LuxoPi Jr is an interactive robotic art installation that reimagines the iconic desk lamp as an emotionally intelligent entity. Inspired by Pixar's animation, this robotic arm functions as both a light source and an emotional mirror, using computer vision and machine learning to recognize human expressions and respond through choreographed movements, dynamic light patterns, and subtle audio cues. In harmony with the exhibition theme "Internet of Strings," LuxoPi Jr explores the invisible connections between humans and technology. As the robotic lamp observes and reflects visitors' emotional states, it creates ephemeral threads of interaction—digital strings that bind us to our increasingly perceptive devices—inviting contemplation about the evolving relationship between people and the emotionally responsive machines that increasingly populate our world.
Instagram: https://www.instagram.com/cyril.engman/
Dora Siafla, Capture Your Charm[edit | edit source]

Capture Your Charm, 2025
Generative video
Loop
The work explores the notion of the talisman and its possible presence within a digital context. Seven plants traditionally associated with spiritual qualities — lucky bamboo, basil, lotus, devil’s ivy, jade plant, fern, and anthurium — appear as digital emblems of luck, cycling rapidly in continuous succession. To receive one, the viewer must capture an image through a photo or screenshot, without prior knowledge or control. The plant that appears in the resulting image becomes their assigned token.
This fragment, stored in the memory of their personal device, functions as a contemporary charm; intangible, yet symbolically charged. The simple act of saving an image begins to take on a performative dimension, resembling a ritual shaped by randomness. Through this gesture, the work reflects on how spirituality and fortune are reconfigured within dematerialized, image-based systems.
If humanity has distanced itself from nature, can it find a new form of emotional and spiritual connection with it through digital media? Can luck reside in an image, in the very act of capturing? Where is luck?
Instruction: Photograph the screen. The plant you catch becomes your personal charm.
Instagram: https://www.instagram.com/dorasiafla/
Dustin Freeman, Temporal Smudge Brush[edit | edit source]

A smudge brush in photoshop smooths between adjacent areas of different colours, making gradients, etc. In this demo, I'm showing off a brush that smudges TIME. This is a cute, conceptual UI. The installation is a laptop + webcam. There are some videos pre-recorded and available to play with, but the setup also allows people to record their own.
Instagram: https://www.instagram.com/escapecharacter/
Hank Bhatia, Perfect Day[edit | edit source]

This multichannel video and sound piece includes five 3.5 inch screens displaying GANs (Generative Adversarial Networks) trained for 2.5 hours from Google Images. Each screen displays a different GAN including ones of a sun, clouds, grass, a flower, and a bee. The screens are presented at different heights, the highest being the sun and clouds, with a ladder leading up to it. The grass GAN is displayed flat on the floor, and the flower and bee are low to the ground with a cement seat adjacent to it. There are vinyl footprints to indicate where the viewer may interact with the piece.
The piece also includes an “outdoor” audio clip sourced from freesound.com. The audio clip includes the sound of birds chirping, wind, and trees. It was then distorted in VCV Rack to create an eerie presence in it.
Perfect Day was made to explore the idea of outdated AI through the lens of a dystopian society. GAN’s are already an outdated AI method, despite being quite popular only 5 years ago. The physical arrangement of the screens invited the viewer into a fragmented artificial landscape, one that mimics the natural world but feels wrong. The viewer must physically navigate the space- climbing a ladder, crouching to the floor- and engage with the piece. This interaction emphasizes the uncanny nature of generative AI by drawing attention to the limitations of the picture. By situating these outdated GANs in a deliberate environment, Perfect Day questions the permanence of progress and the ways in which nostalgia, obsolescence, artificial beauty, and technology intersect.
Placard text: Step into a broken digital Eden where five tiny screens display GANs (Generative Adversarial Networks) desperately trying to remember what nature looks like—sun, clouds, grass, flowers, and bees—generated by already-obsolete AI.
Instagram: https://www.instagram.com/sluttyhank/
Isaac Monheit, Two Hand Band[edit | edit source]

Two Hand Band is an original instrument controlled completely virtually through hand movements and gestures. The user "plays" this instrument by holding up their hands in front of the laptop camera and moving them around in space, connecting various hand motions to the resulting audio and video the more they mess around with it.
There are no instructions for how to play this instrument - my goal is to invite every individual to create their own sound and visuals through exploration and discovery. Everyone, whether they believed it or not beforehand, instantly becomes a musician when they play this instrument. This is because there are no wrong notes, no ways to play it "badly". Each person I've given it to so far for testing has done something new with it, unprompted. I am excited to see what else can be done that I've never thought of before!
Behind the scenes, the instrument is created using Touchdesigner and Ableton Live. I used an open-sourced machine learning framework called Mediapipe to detect hands on the camera and convert them into data points (i.e. xy coordinates of all joints on each finger). I then created parameters controlled by finger and hand motions, for example a slider that goes from 0-1 as you bring your index finger down on the screen, and sent those parameters to Ableton to alter effects of the synth/drum sounds that are playing.
Instagram: https://www.instagram.com/zonk_music/
Jack B. Du, Interactive Papercutting[edit | edit source]

Interactive Papercutting is a web-based experience that introduces the art of Chinese papercutting through a playful, hands-on simulation of cutting paper in the browser.
Instagram: https://www.instagram.com/jackbdu/
James Akers, Our apartment had the worst chandelier, so we branched out and wanted to show the world.[edit | edit source]

A webserver sculpture chandelier made of sticks found around NYC, lashed together with twine and sheepswool, with neon suspended in it with paracord. The webserver features a live video feed, and GPIO control (blinking the neon on an off) that is ported through a cloudflare tunnel for simplicity and ease of connection.
Social: https://expressional.social/@JamesAkers
JL, Cymatic Landscapes[edit | edit source]

What can be alchemized by collectively honoring the our bodies’ unique distillations in the antropocene as made visible by the most vital molecule on earth?
When are the most palpable, corporeal boundaries actually permeable by vibrations that cannot be sensed by human perception? At what frequency above does material matter alchemize into a bridge?
How often are we given the chance to remember and honor the ecosystems between our own bodies– that our bodies are ecosystems within a universal ecosystem?
We are, by sole virtue of living here, each vessels for the Water of this land and, consequently, both the past and future of this land. The vibration of each voice amplifies the knowledge in each body, and each body’s amplification vibrates in resonance with all those around us.
In Ulster County, along the trade routes of the Lenape, water filtration technology historically alchemized the physiological and sociopolitical health standards of the county; simultaneously, the industry created for these practices led to cultural filtration with devastating consequences to our collective well-being. What are the thresholds of purification?
Celebrating ghosts and respecting the invisible are daily rituals of marginalized, erased, and neglected communities– these rituals, stories, and songs contain knowledge necessary for humanity’s survival through the artificial, genocidal, and toxic advancement of distortions such as manifest destiny and immanent domain. The anthropocene is defined by the blood replacing its bodies of water, displacing communities, forcing migration, and altering the earth to its core. Yet, as we honor water's innate, live-giving, transformative habits, and mirror its wisdom’s potentiality as a community– the flow of life – we in turn reimagine, adapt, create, and expand. We honor these vibrations through our actions and most simply through the simply being, listening, witnessing, and communicating; we amplify these vibrations through sharing and learning together, speaking truth to power, active listening, and all actions that are rooted in unconditional love and generosity of spirit.
We are in constant harmony with the energies of these histories and futures of the land itself. The practice to listening to each others’ emanations mirror this innate knowledge sharing and amplification of the universal informational ecosystem, similarly to viewing the cosmic microwave background. Moreover, the patterns and undulations unveiled by the water are simply generated audiovisual representations of the multidimensional math governing our reality.
We feel the familiarity of these patterns ‘in our bones’ and recognize their signatures imprinted into the the habits of of ocean waves, earthquakes, and sand dunes, the structures of black holes, typhoons, and snowflakes, and the patterns of the sand dollar, the pufferfish’s crop circle, and saturn’s ancient storm among infinite others.
The invisible ecosystem of vibrational, cultural, and atmospheric currents shifts and shapes us as we shift and shape our future. Wisdom from the tone reminds us of omnipresent flow, power, and permeability. Through grappling with the primordial, colonial and spiritual histories of each body of water, we listen to the creation of communities and the impacts of inflow. Listening to these unique acoustic ecologies with open ears, past the confines of capitalism, broadens our awareness and carries transformative powers of revolution.
To honor these lessons, I have created a cymatic plate whose undulations can be modulated at will by the body and voice (EEGs are coming soon!). I merely serve as a vessel in this performance as each generous participant shares a unique signal of their beingness and all others listen/witness in reverence. Through sharing their breath, voice, heartbeat, or skin conduction signature, we receive the wisdom from an omnipresent yet veiled aspect of the universe within potent audiovisual imagery, revealing our place within scales and dimensions beyond our comprehension.
This performance serves as a vessel for the rare occurrence of collaborative and sanctified witnessing / listening to the wisdom of primordial patterns innately emanating from all of existence. This process lies in active defiance of the athropocene’s signature disintegration of empathetic connection despite exponential increases in artificial electromagnetic connection (internet, cell, GPS, satcoms) preying upon the power of the collective and the homeostasis of our climate. The information in their patterns contain both information of our present interaction with the medium and all interactions throughout time, and remind us of the self imposed boundaries of community. To honor this phenomenon, the water asks nothing more of us than our most easeful and resting state– emanating naturally through existing. We emanate, we witness, we listen, and the water, also by sheer nature of its beingness, translates each emanation’s higher dimension of wisdom into humbling lessons for dwellers of the Anthropocene.
Placard text: I have created a cymatic plate whose undulations can be modulated at will by the body and voice. I merely serve as a vessel in this performance as each generous participant shares a unique signal of their beingness and all others listen/witness in reverence.
Instagram: https://www.instagram.com/sound_spacetime/
Jonah Brucker-Cohen, Surprise Acquisition[edit | edit source]

In an increasingly corporate digital media landscape where the Internet is transforming into a controlled environment built for profit and consumption, large companies such as Meta, Apple, Microsoft, and Google are purchasing smaller companies’ products and rebranding them as their own. From Apple’s acquisition of Beats to Meta’s purchase of Oculus, Instagram, WhatsApp and more, the rise in corporate suffocation of innovation has lead to greed, a stifling of creative freedom, and conglomerate attitudes throughout the tech world. “Surprise Acquisition” is a media artwork that aims to uncover the seemingly randomness of corporate takeovers by equating the arcade “claw” machine with the act of purchasing companies. Similar to the early days of the “dot-com” revolution with companies buying up domain names, the de facto approach today is for companies to gain enough capitol to buy their rivals and integrate these products into their own. “Surprise Acquisition” serves as a reminder of these practices and how they have gotten out of control as corporate technological territorial practice rolls on. As the companies fall into the tray each purchase price is tallied to a larger amount which shows the total corporate greed spent on these smaller companies.
Placard text: “Surprise Acquisition” is a media artwork that aims to uncover the seemingly randomness of corporate takeovers by equating the arcade “claw” machine with the act of purchasing companies.
Instagram: https://www.instagram.com/coinop29/
Julia, Nasty AI[edit | edit source]

For my Advanced Studio class at Hunter College, I created a chatbot using OpenAI, featuring a sharp-tongued personality inspired by a fictional heroine. The front end was designed in a Matrix-style aesthetic to match the character’s tone and attitude. I showcased the project at a collective student exhibition at Wonderville in Bushwick, where it seemed like people had a lot of fun interacting with that. I'm still working on the project—adding glitches and visual effects and refining the prompts.
Placard text: A chat bot featuring a sharp-tongued personality inspired by a fictional heroine.
https://github.com/vvedenskaya
Instagram: https://www.instagram.com/w.a.s.p.ie/
Julianne Lefelhocz, Suited in Light[edit | edit source]

“Suited in Light” is a white jumpsuit inspired by astronaut suits, reimagined with glowing blue EL wire and a long geometric train. The design balances masculine structure with feminine detail, referencing the math behind space travel through shape and symmetry. Finished with shoes that feature a spinning planetary element, it’s a suit made for motion, orbit, and light.
Instagram: https://www.instagram.com/Julianne_makes/
Karen U, 10-minute-band[edit | edit source]
Video game where 3 people can make a song in 10 min or less.
Luke, Biospheres[edit | edit source]

Nine generative planets, displayed/projected in a grid or circle, present an immersive interactive experience. Participants can engage with these evolving digital worlds, feeling like creators as they influence their generative behaviors beyond basic controls. This project aims to bridge the physical and digital, sparking wonder about evolution and the cosmos. "Biosphere" presents an innovative approach by generating digital "life" through intricate, evolving systems, akin to a form of digital biology. The project simulates and visualizes dynamic ecosystems and their potential future developments using advanced software and computational methods. This offers a novel and accessible exploration of life's evolution and the impact of technology, pushing the boundaries of creative and speculative practice.
Instagram: https://www.instagram.com/skywalker._.visuals/
Mars Lee, Jack-a-Thon: The Conspiracy Board Modular Synth[edit | edit source]

You know the satisfying *click* when you plug in an audio jack? What if you got to experience that again and again, through the entire night of the Interactive Show?
Welcome to the Jack-a-Thon. Dozens of audio jacks are hanging loose and your job is to plug them into place. Each time a jack is plugged in, a fun new sound is played. You get the joy of a modular synth, without needing a mullet or dropping hundreds of dollars on an Eurorack.
Also, it's a conspiracy board. Like those detective corkboards, filled with red string connecting maps, newspaper clippings and records. It's up to you to connect the evidence together.
Ultimately, I want people to feel a simple, silly joy. To play with electronics and receive audio-visual feedback of your imprint on the world. To jack-on and jack-off all night long.
Placard text: Experience the oddly satisfying click of plugging in audio jacks over and over again in this playful electronic playground. It's all the joy of expensive music equipment without the mullet—just pure, silly satisfaction as you jack on and jack off all night long.
Instagram: https://www.instagram.com/marsleehi/
Matt Pfeiffer, HiddenSymbol[edit | edit source]

Painting of philosophical symbol on canvas with additional text and geometry only viewable with UV light. Candelabra lighting system with sonar range finder and linear actuator deploys lights and triggers UV light show as you approach. Only when you are right in front of painting are the UV lights fully on and stable. See instagram reels and highlights for more media.
Instagram: https://www.instagram.com/matteblack.labs/
MATT PINNER + ADELLE LIN, Echo Chamber of Deep Time[edit | edit source]
This ancient stone, formed over millennia, contains minerals from every continent—a geological ambassador that predates humanity by eons, yet now pulses with fiber-optic nerves and responds to your ephemeral presence. As you approach, its colors bloom exponentially brighter, mirroring how our species' technological fever has compressed centuries of change into mere decades, while the rock itself remains unchanged at its core. Each visitor triggers a unique light signature that is transmitted to sister stones in galleries across the globe, creating fleeting connections between strangers who will never meet, their only bond this shared moment of proximity to Earth's patient witness. The stone's glow fades as quickly as a human lifespan against geological time—reminding us that while our technologies race toward infinity, we remain as fragile and temporary as the light patterns dancing across its surface. Yet in this brief exchange, the rock reveals nature's ultimate resilience: it will outlast our networks, our cities, our species, carrying only the faintest electromagnetic memory of our passing. Touch the stone gently, and know that long after our exponential curve collapses, it will still be here, waiting for the next curious beings to awaken its silent light.
This installation transforms stones collected from significant locations worldwide into responsive light sculptures that awaken to human presence. Using LiDAR scanning to capture each rock's precise geological character, these forms are 3D-printed and embedded with proximity-reactive lighting that intensifies exponentially as visitors approach, creating a garden of glowing "sprites" that serve as both wayfinding elements and contemplative objects scattered throughout the space.
The work explores the intersection of deep geological time and our fleeting technological moment—each stone carries millions of years of Earth's memory within forms that predate humanity, yet now pulse with programmable light that mirrors our species' accelerating development, revealing both nature's resilience and our fragility. As viewers move between these illuminated sentinels, their brief interactions trigger light patterns that connect to sister stones globally, creating ephemeral bonds between distant places and strangers, while reminding us that these ancient forms will outlast our networks, our technologies, and our species itself—transforming the garden into a space where past and future collapse into a responsive, eternal present.
LiDAR scanning technology captures original rock specimens from multiple continents; 3D-printed PLA forms the translucent sculptural bodies allowing internal light diffusion; embedded RGBW LED modules create full-spectrum color mixing and responsive illumination; ultrasonic proximity sensors detect visitor approach and modulate light intensity; networked microcontrollers enable real-time data sharing between installations; weatherproof housing ensures outdoor durability while solar panels and batteries provide sustainable power for continuous operation.
Instagram: https://www.instagram.com/mpinner/
Nico Perey, Family Flowers[edit | edit source]
I have designed different flower scapes to represent my family (6 members, 6 different flower arrangements). The flowers are be hooked up to sensors. Once an audience member interacts and touches a flower, a visual with a short bio of my family member will be activated while also triggering a soundscape that is unique to that family member.
Instagram: https://www.instagram.com/luckygolava/
Noah Eisenbruch, Ridgewood Mail Network[edit | edit source]

Ridgewood Mail Network is an interactive 3D map installation that invites viewers to explore the hidden infrastructure of the USPS mail system embedded in the streets of Ridgewood, Queens. Using high-resolution 3D scans—rendered as point clouds or gaussian splats—viewers can zoom into the neighborhood and encounter the neighborhood's mailboxes up close, reimagined as overlooked monuments of public utility and urban design.
Mailboxes, often treated as mundane fixtures, are revealed here as beautiful pieces of street furniture—weathered by time, layered with graffiti, and humming quietly with the flow of communication. Each box becomes a node in a local network, part of a larger choreography of movement and logistics. By following invisible “strings” that represent the flow of mail across relay boxes, homes, and post offices, users uncover a microcosm of analog connectivity embedded within a digital frame.
This piece functions both as an urban archive and a poetic interface—offering a tactile encounter with infrastructure that’s both familiar and ignored. Ridgewood Mail Network invites reflection on the systems we rely on every day, the objects we overlook, and the quietly elegant design of public space.
Instagram: https://www.instagram.com/nerk.tv/
Noah Shipman, Synchrony[edit | edit source]

A large projection image shows a particle system. The viewer touches a small device that detects their pulse, and the particles pulsate in sync with the viewer's heartbeat.
Instagram: https://www.instagram.com/nsohfi/
Oz Hewett, Ecliptic[edit | edit source]

A large projection image shows a particle system. The viewer touches a small device that detects their pulse, and the particles pulsate in sync with the viewer's heartbeat.
Instagram: https://www.instagram.com/imaginaryresources/
Rebecca Shenfeld, Talisman of Great Leaping[edit | edit source]
This is a device to muster a moment before colorful sight brings back a black and white horizon for a process to rearrange created playful in a pull-a-part chest, weighed out and trembling to apply a spackling paste for the reverie.
Sai Ram Ved Vijapurapu, Internet Affluence[edit | edit source]
This data driven installation tells the story of who gets to access the internet, and how this access has changed over the years. The story is told with the help of an LED volume that cascades from the ceiling flowing into the screen, generating pulses that move downward depicting the flow of data from the "cloud".
Instagram: https://www.instagram.com/sairamved/
sam heckle, Seeing Fast and Slow [edit | edit source]

A digital sculpture that focuses on two different frame rates on two screens. The "fast" screen is a series of overwhelming content. The "slow" screen, over the course of 24 minutes, writes poetry about the content on the "fast" screen. On the "fast" screen, each minute the category of content changes, along with the text on the "slow" screen to create a cohesive poem. To see a quick web-based prototype visit http://167.172.149.57:3000/
The physical sculpture comprises of an old recycled phone as the "fast" screen and the "slow" screen is a 1.54in e-ink display. The two screens are embedded in a chrome housing, surrounded by braided vinyl tubing.
Placard text: "Seeing Fast and Slow" pokes fun at the rapid consumption of content in the age of information. Over a period of 24 minutes, a poem evolves. A highly curated selection of media addresses topical themes approaching AI, capitalism, and critical mass consumption.
Instagram: https://www.instagram.com/samanthiik/
Sasha Solovyeva & Deron Gopie, Dance Dance Revolution Revolution (DDRR) [edit | edit source]

Dance Dance Revolution Revolution (DDRR) is an interactive experience inspired by the classic game Dance Dance Revolution (DDR). Unlike the game, however, the dancer creates their own step patterns and music instead of following them. Turning the gamepad into an instrument of movement.
Instagram: https://www.instagram.com/sashasolovyeva/ and https://www.instagram.com/derongopie/
Sihan Zhang, Chatblocks[edit | edit source]

Chatblocks is an experimental chatrooom where chat messages have color, shape, and weight. It envisions a new digital interface where conversations take on a tangible, dynamic form, transforming text-based interactions into a visually immersive experience. Try it out: https://www.chatblocks.space; More about the project: https://www.sihanzhang.me/chatblocks
Trevor New, Telematic Collisions[edit | edit source]

Telematic Collisions is a hybrid performance and installation series that reimagines how we gather and create together across distance, discipline, and medium. Designed to unfold simultaneously in multiple locations or virtually, each event connects artists, musicians, technologists, and audiences in real time through a blend of networked performance, interactive visuals, and sound. Whether in person, remote, or both, Telematic Collisions invites participation and co-creation, transforming physical separation into artistic opportunity. By collapsing geographic boundaries, it becomes a space for shared experimentation where gesture, movement, and music meet technology in unexpected and dynamic ways.
Instagram: https://www.instagram.com/VoxViola/
Vince, The Light You Left Behind[edit | edit source]
(Big LED wall)
Instagram: https://www.instagram.com/post_no_chills/
Yonatan Eshban Laderman, when we are two[edit | edit source]

In when we are two, an audience member is invited to join me on stage and meet me with their eyes across a dimly lit dinner table. In this intimate yet alienating setting, made possible only through and by technology, we explore the profound yet often uncomfortable act of sustained eye contact between strangers, transforming the gaze into a vehicle of discovery.
when we are two stages an abstract meeting through digital transmutation. Entering an environment directed by a custom-made software, the performers experience each other in a new way: visualize the traces of their gaze, converse without words, connect and find intimacy through technological alienation.
Using pupil-tracking technology, webcams capture the saccades of the performers' eyes as they look at each other. Custom software transforms these subtle movements into dual real-time visualizations: behind each participant, a live-stream projection displays an evolving line drawing – a portrait drawn by each viewer's gaze.
Simultaneously, the eye movements of each participant feed into an orchestra of synthesizers, creating a 4-channel soundscape where each performer's visual input sculpts half of the audio composition. The result is a technological dialogue where two pairs of speakers voice the unspoken conversation between the performers' eyes.
https://www.yonatan-eshban-laderman.org/
Instagram: https://www.instagram.com/_.ledi._/
Yuelin Li, I Know a Place[edit | edit source]

In this installation “I Know a Place”, I explored the intricate parallels between object interactions and human connections, delving into how external factors such as time and space influence these dynamics. The piece aims to evoke a deep emotional response through the nuanced interplay of movement and symbolism. This installation features an automaton (about 2'×2'×2') and a white balloon, tethered together. The automaton and the balloon move within an area (about 13’x13’), defined by hundreds of white threads that hang down from the ceiling and form a square space. Each thread is adorned with a needle positioned just above the balloon.
Instagram: https://www.instagram.com/yuelinliii/
Yufeng Zhao, all text in nyc[edit | edit source]

A web based full text search engine for all text found on New York City street view from 2007 to 2024. Available on alltext.nyc
Instagram: https://www.instagram.com/Hallucitalgia/