Will Pappenheimer
Since 2005
Works in Brooklyn, New York United States of America

Will Pappenheimer is an artist and professor at Pace University, NY and a founding member of the Manifest.AR collective. Individually and as part of Manifest.AR he has exhibited in solo shows at the ICA in Boston, Kasa Gallery, Istanbul, the DUMBO Arts Festival, Fringe Exhibitions in Los Angeles, Samek Art Gallery, Bucknell University, PA, Pace University and Pocket Utopia Gallery in New York, and the Urban Institute for Contemporary Art, MI. Together with the Manifest.AR collective, he staged two highly publicized interventions at the Museum of Modern Art, NY and the 54th Venice Biennial. His work has been included in numerous group shows nationally and internationally, including the Museum of Fine Arts in Boston, Exit Art, Florence Lynch, Postmasters, Vertexlist, DUMBO Arts Festival in NY, San Jose Museum of Art in ISEA 06/ZeroOne, Kunstraum Walcheturm in Zurich, the Golden Thread Gallery, Belfast, Ireland for ISEA 09, FILE 2005 at the SESI Art Gallery, Sao Paulo and Xi’an Academy of Art Gallery in China. His grants include an NEA Artist Fellowship, Traveling Scholars Award from School of the Museum of Fine Arts, Boston, Los Angeles County Museum of Art, Turbulence.org, Rhizome,org at the New Museum, Lights On Tampa 2009, and FACT, Liverpool. His work and participation in Manifest.AR has been reviewed in Art in America, New York Times, WIRED, the Boston Globe, EL PAIS, Madrid, Liberation, Paris, NY Arts International, Art US, the New, Magazine Électronique du CIAC, Montreal, MSNBC.com and ZedTV, Canadian Broadcasting. The artist’s works are discussed in Christiane Paulʼs recent historical edition of “Digital Art” and a chapter of Gregory Ulmerʼs theoretical book “Electronic Monuments.” He has presented his work at the Eyebeam Atelier, the New Museum, the ITP Graduate Program, New York University and the College Art Association, empyre online discussion list, and ETH Computer Systems Institute, Zurich, Switzerland. For March, 2013, he is organizing a solo exhibition of the ManifestAR collective at FACT, the Foundation for Art and Technology in Liverpool, UK.
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Mon Feb 19, 2007 00:00



A number of devices exist that stimulate the mind of the user by visual and audio signals. The fundamental principle applied to each is that a particular train of visual and aural pulses leads to different states of mind. These states include, for example, deep relaxation, heightened creativity and heightened awareness. Often, the aim of the device is to allow users to learn faster or relax deeper, but artists have extended the experience with such device into the realm of art. The Dream Machine, conceived in the early sixties by Brion Gysin, is a mechanical device that is viewed with eyes closed as it rotates at 12 HZ around a light source located inside it. The light, coming against the eyelids as the device rotates, effortlessly produces a relaxed state of mind. This occurs, because the optical nerve is stimulated and alters the brain's electrical oscillations. Gysin referred to the effect as "interior visions" and in his words the effect of the Dream Machine can be described as a projection of dazzling lights and celestially colored images whirling around inside one’s own head.


The Digital Art Weeks 2007 (DAW07) invites Visual and to submit their work to the theme of the Digital Mandala.
For the "refit" of the Dream Machine for the 21st Century, Visual Artists are asked to submit static or animated images in the form of "Digital-Mandalas" that are relevant in content and effect to the theme of "inner visions". The Digital-Mandalas will be projected on to the walls of the gallery space and will be dynamically synchronized to the 12 HZ flickering frequency of the Dream Machine. This flickering is then used to drive computer programs that will subtly modulate attributes of the image dynamically to gently arouse news states of mind. In this manner the inner visions of the Dream Machine become outer visions within the installation.

The Digital Art Weeks 2007 (DAW07) invites Audio Artists to submit their work to the theme of "Today’s Ohm: The 60 HZ Hum".
Audio Artists are asked to submit works of approximately ten minutes or so in length in .aif format that are relevant in content and effect to the theme of "the 60hz hum is the electronic ohm of our times". Submitted works will be projected into the space using a stereoscopic loudspeaker system from the company StereoLith® of Switzerland. The play back of the submitted works, although thought and experienced as independent works themselves, will naturally enhance the psychedelic effects of the Dreammachine environment further.
Note: The submitted images and audio works will be presented in an installation type situation in which the public may experience using the dream machine up close and afar during the Closing Event of the festival. All artists will be listed in the program.

Friday, 2nd March 2007.
Notification of acceptance of proposals will be sent out on or before Friday, 2nd April 2007.
For more information regarding the call please write to: daw-perfs@inf.ethz.ch
For more on the Digital Art Weeks 07, please see: http://www.digitalartweeks.ethz.ch/

Will pappenheimer
Digital Art Weeks Steering Committee


Digital Art Weeks call

Fri Dec 29, 2006 00:00 - Fri Dec 29, 2006

Digital Art Weeks Festival 2007 (DAW07)
July 9 - July 14, 2007
ETH Zurich, Zurich, Switzerland
The Digital Art Weeks is concerned with the application of digital technology in the arts. It consists of a symposium, workshops, and performances. The program offers insight into current research and innovations in art and technology. Artists and researchers will examine the use of electronic media in articulating the performer's presence through the possibilities of the multi-sensuality of electronic media. The possibility of blurring the divide between public and performer to bond them through the powers of dissemination and inclusion inherent within the technology used will also be considered. The organizers of the Digital Art Weeks at ETH Zurich seek papers, posters, and performances on themes specific to performance using electronic media. We seek proposals that explore a concept of the Performative Surround in terms of how computer-mediated communication and dialog takes place between performers and viewers and how it tends to aid in dissolving the divide between performer and viewer.
PERFORMANCES topics include:
* Media Enhanced Artwork in the areas of Performance, Dance and Sound-Art
* Mobile Art & Music that explore Performer Networking and Audience Participation
* Digital Puppetry including Enhanced, Waldo, Motion Capture, and Machinima
* Laptop Music including Live-Coding, Live-Cinema & Live-Re-Scoring
* Installations involving Net-poetry computer mediated communication
* Current Research and Innovations in Media Enhanced Artwork and Technology
* Issues Concerning the Live-Electronic Re-Embodiment of the Performance Artist
* Approaches to Performer Networking and Audience Participation using Technology
* Technology and Aesthetics of Digital Puppetry
* Approaches to Live-Coding, Live-Cinema & Live-Re-Scoring
* Novel Software Paradigms for Mixed-Media Processing and Authoring
PANEL topics include:
* Software Innovations in Mediated Communication and the Arts
* Live Cinema, Expanded Video, and Film Rescoring
* Immersive Audio and Video Space
* The Dissolve of the Performer-Audience Divide
* Networking the Private Space-Pubic Space Divide
* Digital Puppetry from Enhanced to Machinima
Submission guidelines are available at:


Public Mood Ring at UICA

Fri Dec 08, 2006 00:00 - Fri Dec 08, 2006

Public Mood Ring
Opens at the Urban Institute for Contemporary Art, Grand Rapids, MI, USA
December 8, 2006 18:00 EST - January 19, 2007

what is the color of mood?
“Public Mood Ring” is an installation/internet work inspired by the common wearable “mood ring.” The ring is believed to be capable of translating the bearer’s emotional condition into its changeable color hue. This project attempts to find the color mood of a current public issue represented by instant Internet news text. It does this at the request and questioning of remote viewers logged onto the artwork site and to a computer station within the installation room.

what is your relationship to news?
Web participants can see the change and status of the installation space via web camera. The shared experience is both the gift of the remote participant, as well as a gauge or color representation of the current world events. Installation visitors are then immersed in the ambient light.

Will Pappenheimer
Assistant Professor, Digital Art
Pace University, New York
Cell: 347-526-5302


More on the word Hypertexturalities, Florence Lynch Gallery

Sun Sep 10, 2006 00:00 - Sun Sep 10, 2006

Lee Klein has written an interesting article in Tribes on his notions of Hypertexture/Hypertextures as precursor to the Hypertexturalities evolution that is worth reading:


there is also an interesting discussion blog by Steve Shwartz on Threadless.com,
cached at:

Will Pappenheimer


Hypertexturalities, Florence Lynch Gallery

Sat Sep 09, 2006 00:00 - Sat Sep 09, 2006

Florence Lynch Gallery
531-539 West 25th Street, New York, New York 10001
September 8 - October 7, 2006

(If you you are in the area, come see what you can make with 10,000 hand dyed pom poms. Will Pappenheimer)

Florence Lynch Gallery is pleased to present Hypertexturalities (Architectures and Morphologies), Curated by Lee Klein with artists

Rick Hildenbrandt
Ron Janowich & Merijn van der Heijden
Ed Kerns & Elizabeth Chapman
Roy Lerner
Fabian Marcaccio
Mark Milloff
Will Pappenheimer
Tyrome Triploli

The exhibition is on view from September 8 through October 7, 2006. An opening reception will be held at the gallery on Friday, September 8, from 6:00 to 8:00 p.m.

"Hypertexturalities" in the words of painter Mark Milloff "is not a sequel but an evolution". That is that since the first exhibition "Hypertexture" (which attempted to survey the umbrella of pictorial morphologies which hypothetically fall under the so-named rubric of painterly, sculptural, digital and transmedial works which invest themselves of an economy of transversal simulacra) the appearance of this phenomenological order of art and or design has become more widespread.

"Hypertexture" can be seen in design (grasscrete) topiary (Robert Irwin's
take on trees as influenced by Arata Iozaki's computer renderings of them in
computer architectural simulations or the topiaries in the movie "aeon flux") and the amount of painters following from the trans-filmic lead-ins of Jackson Pollock, Jamie Dalglish, and David Reed into hypertextural morphologies grows into a lexicon.

This new exhibition will try to visit the place where architectures infuse and morphologies expand the fertile edge of a new aesthetic landscape where the plastic ends and the digital begins and the digital ends and the tactile
begins again.

Lee Klein, July 2006

Lee Klein is the curator of "Hypertexture" and "Hypertexturalities" (words he hopes to get at least part of the credit for as they enter lexicons and or dictionaries). He has written for PAJ (MIT Press), NYarts, The Forward, Lafayette College's Portlock Black Cultural Center, and "A Gathering of the Tribes".

Gallery hours are Tuesday through Saturday from 11:00 to 6:00 p.m. For
further information and photographic material please contact Kari Pierce at
(212) 924-3290.