Category Archives: Uncategorized

Works 2017




Feature Recognition 1 (Rendering), 2017. Digital projection, cement, server rack, resin, aluminum, d.v.


Sub-Pixel Feature Extraction 1 (Rendering), 2017. UV print on Dibond, server rack rails, approx. 31.2 x 14.8 x .23 inches


Feature Recognition 2 (Rendering), 2017. UV print on concrete, dibond, approx. 14.4 x 52 x .57 inches

Optical Flow Map 1 (Rendering), 2017. Digital print on laminate, 3D-print, d.v


Works 2016



After the Feast

Installation View. Photo: Carl Gunhouse
Joshua Liebowitz Artist New York City

The Managed Horizon, 2016. Acrylic, iPhone digitizer replacement screens, approx. 45 x 80 x 61 inches. Photo: Carl Gunhouse

Joshua Liebowitz Artist New York City

Devotion and Livestock, 2016. Laser-cut acrylic, 6 x 65 x 35 inches. Photo: Carl Gunhouse

Joshua Liebowitz Artist New York City

Default Settings, 2016. Acrylic and vinyl, 32 x 32 x 32 inches. Photo: Carl Gunhouse

Joshua Liebowitz Artist New York City

Firmware Update (left), 2 Ohms and an Analog Displacement, 2016. Graphene nanoplatelet powder and acrylic on canvas, LEDs, 21 x 45 x 13 inches; Graphene sheet, graphene nanoplatelet powder, couplers, RGB LED, fiber optic cable, oil, power bank, acrylic, approx. 48 x 36 x 5 inches. Photo: Carl Gunhouse

Joshua Liebowitz Artist New York City

Umbra v2, 2016. Digital projection and CNC-routed acrylic, 10.2 x 63 x 0.8 inches; projection d.v. Photo: Carl Gunhouse


Consisting of 6 sculptural situations within a room sized grid, this show considers a world on the cusp of the post-human; it is also in part, my own reaction to the jolting events that have taken place in 2016.

The works on display come from my perpetual fascination with absurd behaviors, particularly as they relate to our virtualized existence, and I feel – at least I hope – that the works also convey a turn in my thinking toward the more physical side of the digital, to the fumes it can leave behind, and to the all too real elements that are the fuel for this “digitalness.”

Concerning the sculptural circumstances themselves, in Devotion and Livestock, I use logically sound algorithms to arrive at illogical, unsound results. It is a visualized increase correlation between Donald Trump’s campaign donations and reported cases of diseased meat and poultry. In The Managed Horizon, I ritualize hardware manufacturing processes and the dependability of the grid to envision a self-replicating, quietly violent, Anthropocene age.

Arguing that a 3D modeling program’s standard operating environment is an ideal setting for a mundane dystopia, as with the grid engulfing all of the works in this exhibition, Default Settings engages with the parallax between positive technological progress, and the impassioned, but often empty quantification of daily life into bits of manageable data.

Umbra v2, fabricated from data artifacts, and accompanied by a projection of its digitally rendered shadow, addresses the narrowing of the gap between concepts of the digital and the physical. And in both Firmware Update and 2 Ohms and an Analog Displacement, I comment on survivalist fashion and the consumption of natural resources at the behest of technology fetishism.


Transmitter Gallery, New York, curated by Jen Hitchings
Press Release


Channel Corruptions

Joshua Liebowitz Artist New York City

Umbra v2, 2016. Digital projection and CNC-routed acrylic, 10.2 x 63 x 0.8 inches; projection d.v.

Joshua Liebowitz Artist New York City

Encrypt_Decrypt, 2015. Digital projection and CNC-routed acrylic, 88 x 54 inches; 5 x 35 x 1.5 inches


The works in this exhibition explore digital error and the paradoxical quality of compression artifacts, which accompany the distortion and decay of data, while at the same time manifesting as new objects and ontologies for observation.


CAFA International Gallery, Beijing, curated by Naiyi Wang and Wenjie Sun
Press Release


Thermal Strategies: Trouble in Paradise

Joshua Liebowitz Artist New York City

2 Ohms and an Analog Displacement, 2016. (From right) Graphene sheet, couplers, RGB LED, fiber optic cable, oil, power bank, acrylic; graphene nanoplatelet powder, RGB LED, acrylic, approx. 48 x 36 x 5 inches

Joshua Liebowitz Artist New York City

Firmware Update, 2016. Graphene nanoplatelet powder and acrylic on canvas, LEDs, 21 x 45 x 13 inches

Joshua Liebowitz Artist New York City

Barrier 1, 2016. Graphene nanoplatelets and oil on canvas, 48 x 60 inches


In this project I use graphene, sometimes called the twenty-first century wonder material, to extend cartographies and narratives of media, information and hardware.

With the chemical properties of graphene at the microscale well documented in the literature, I focus instead on the manufacturing processes, optical qualities and severe fragility of nanoparticle arrangements at the macroscopic, visible level. This course of action speaks to the fact that, even as the boundaries between digital-born and physical phenomena become increasingly blurred – a kaleidoscoping of first principles that I cherish for sure – this advancing internet of everything is at the same time dependent on very real hardware, land, and earth-mined resources.


Works 2015



Channel Corruptions


Encrypt_Decrypt, 2015. Digital projection and CNC-routed acrylic, 88 x 54 inches; 5 x 35 x 1.5 inches


For this project, I wanted to produce a situation where digital and analog space and materials require one another’s presence to complete the work’s structure.
I first made an audio recording of my password key-bits, leaked while encrypting and decrypting my external hard drive, due to the residual sounds given off by CPU operations inherent to the drive’s functioning. These audio data were then piped into a signal analysis program where they are displayed in a spectrogram window as a series of frequency and amplitude bands.
Correlating to color intensity and edge characteristics, these bands comprise the projected, 2D visual image in this work. One bit of decryption data – seen at the bottom of this image – was then 3D modeled to produce a digitally fabricated sculptural object comprised of that same data, and continuing in physical space.

This statement was modified from the AMAH Industries exhibition Press Release, online, Fall 2015
Exhibition and project support by: Electric Objects, Blacktable



Untag_web-quality copy

Untag (Prototype for Nutritional Privacy in Barcode-Ready Agar), 2015. Potato Dextrose agar in acrylic box, 24 x 12 x 36 inches



Installation view with grow-light LEDs and ivy, photo courtesy of Douglas Paulson and Pierogi Gallery


Edible, DNA-based barcodes made from extracted plant genomes not found in nature to track and trace food fraud and you; fruits & vegetables spectrum-hacked to influence growth and productivity. Future citizens and their internet of foods will be heavily surveilled. To this community, a model is presented using LEDs to de-authenticate and anonymize growth media and produce.

This description was modified for the Menu for Mars Kitchen Press Release (The Boiler|Pierogi Gallery), curated by Douglas Paulson and Heidi Neilson






Chemical Compounds Used in The Production of Counterfeit Poultry Eggs (Installation View), 2015. Various chemicals on acrylic sheeting, 10 x 3 feet


The proceeding statement is modeled after a talk given at Flux Factory, (Queens, NY) in connection with Counterfeiting for Cash, curated by Douglas Paulson
Press Release


Art as Information
Increasingly, I’ve been thinking of artwork in relation to how information is processed. Whether in connection with our brains, quantum mechanic shenanigans, or the algorithms developed to trade stocks at speeds and sizes that no one on Earth seems to understand, what I find so interesting is that this processing is largely invisible. We can predict and feel its effects, but for the most part we really can’t see these sets of actions that underlie every thing we do, and are, as a species. So I’ve been exploring ways to enable and provide context for these invisible trespasses. One way to do this might be through, what I think of as, a simulated or ulterior focus: to present an object or collection of objects that, by the very nature of its false, fraudulent beginnings, must by necessity act more as a conduit for the formation of mental objects; connections between neurons, and where the real target is thus a space after the senses.

A perhaps unexpected role model for this idea can be found the Counterfeiting Industry. I can think of few other industries where objects are presented with motives so precisely ulterior, but where there’s also such wonderfully perverse ingenuity and innovation accompanying the trade. In making “Untitled: Chemical Compounds Used in The Production of Counterfeit Poultry Eggs,” I thought, why not copy the counterfeiters? Why not hunt and gather the information used by the dissimulators, and present that information in the form of ingredients. Maybe connotations of falsity and hoax that surround the industry can be reverse engineered by partaking in a kind of bankrupt mimesis that I think all too easily finds a friend in an increasingly profit-driven art market.



Detail_FD&C Yellow No. 5, Sodium Carboxymethyl Cellulose



Detail_Gypsum, Calcium Chloride


China’s the big player here. They’ve been faking eggs as far back as 2003. Derived entirely from chemicals, you can get started for as little as 200 USD. If we’re talking investment opportunities, you should know that the production of a single ersatz egg amounts to about $.06, which is approximately half the cost of its “natural” counterpart. But I think there’s something more going on here. While 93% of counterfeit goods confiscated by US Customs in 2014 were Chinese in origin, I would argue that the aesthetics of a successful fake shell and fake yolk, of which apparently the latter can be bounced like a ping pong ball, betray an admirable hubris on the part of the forgers to engineer an object into existence that is not only completely novel, but also one that, agriculturally speaking, passes as the “real” and edible article.


In fact, according to the “Father of the Eggshell” or “Fake eggs King,” who was arrested after residents and media outlets alike uncovered his operation, he’d seen entire factories where they could get everything right except the eggshell and doing away with the chemical smell, so he got into the business simply to improve upon the technology. As it turns out, folks like him have started entire schools dedicated to the craft of counterfeiting chicken eggs. And there’s real money to be made from an administrative standpoint. Taking a class will cost you 170 USD, but for convenience you can take that information home on CD, for $80. Regardless of the route you take, you’ll receive a recipe, and the chemicals needed to start your own production line.


The chemical compounds here range from fairly innocuous to completely abhorrent. This might be in you right now. Sodium Alginate is derived from seaweed and as it’s a thickener, it’s used in smoothies, and it’s also used in time-release pills; dental impressions; papermaking; in water treatment and in fertilizers. This is soaked in water and is the first step in making the fake egg yolk and egg white.


This is derived from cellulose, which sounds innocent enough, but it’s really only in name. Like so many compounds in our cognitive-cultural economy, its chemical formula is patented. The natural reactants that can be combined with cellulose are substituted along the way in a process sometimes referred to as “stepwise addition.” This allows the patent-holding company to alter, and repeatedly alter parts of the structure, and bundle it up under some fancy name, so that intellectual property rights and profits maintained.

Under its many names, then, Sodium Carboxymethyl Cellulose is used in aerial drop insecticides; wallpaper paste; cigarette adhesives; and jellied meat products. Prolonged, direct exposure can cause eye and skin irritation, inhalation problems, and vomiting. May cause chronic digestion problems. This is used to solidify the egg white.


Alum’s fun. It’s a certified hazardous substance, and there’s substantial evidence that long term exposure causes Alzheimer’s. It’s a firming agent used in explosives, marble cement, copper plating and leather tanning. Use to make the fake egg white look like a real egg white.


Benzoic Acid: the renaissance chemical. At food grade, it can be used as a preservative, in toothpaste and in soft drinks, and as an antifungal agent – like in treating ringworm. But it’s also used in bomb calorimetry, which means it’s used to measure the heat of combustion i. e. what the explosion’s gonna be like.

This is a health and environmentally hazardous substance, and when heated, the vapor is explosive in air. It’s toxic to lungs, membranes, and the nervous system. Repeated exposure can cause permanent organ damage. This too, is used to shape the egg white’s appearance.


Calcium Chloride, a personal favorite. It’s used to de-ice roads; as a brine in refrigeration and inflatable tires; in electrolytic design (like in Gatorade); dehydrating natural gas, and in fracking fluid.

Causes skin and respiratory irritation. Causes disorientation in birds. Use this to stabilize the egg yolk and outer membrane.


Gypsum is used to make drywall, plasters and polishing powders; to contain environmental waste; and it’s also used in toothpaste. It can offer severe skin, eye and respiratory irritation, and may contain traces of crystalline silica, which is a carcinogen. Use this in combination with beeswax or similar to make the eggshell.


still_sodium alginate

Still_Sodium Alginate


still_benzoic acid_1

Still_Benzoic Acid 01


still_benzoic acid_2

Still_Benzoic Acid 02


still_yolk mold

Still_Yolk Mold


still_the yolk

Still_The Yolk


still_eggshell prep

Still_Eggshell Prep






A Selected Reading_smaller

A Selected Reading, With Yes-No Commentary, of Purported Information Concerning my ENTJ Personality Type, Most of Which I Vehemently Disagree With, 2015. C-print on archival paper, 32 x 20 inches


ForType Indicators, curated by Wilson Duggan, a recent Myers-Briggs Type Indicator revealed my personality as an ENTJ, and I couldn’t disagree more with this. A logical part of me acknowledged the absurdity of the test, but another felt somehow cornered by the data, as if its empiricalness had more gravity. Clearly a mild schizophrenic dualism there, like the design of the test itself.
So what I did is I decided to read a selection of data from the results, which apparently describe an ENTJ’s typical qualities, and respond to each with either a ‘yes’ or a ‘no’; to go on record, if you like, and freeze the cognitive dissonance wrapped up in the test and my relation to it. The audio from the reading was then placed in an open-source signal analysis program, unearthing the recording’s spectral density, the energy going on behind the scenes. A sound map is what this is. On the y-axis is the duration of the audio (06:16); on the x-axis, frequency range (∆ 387.7372Hz); and in the z-plane, its amplitude parameters (+4.7509Hz). And let your data always, be mutable.



Tangle E


E : D5 (Installation View), 2014. Split-screen, single channel HD video, 1280 x 720 pixels


In the manner of DNA replication, Tangle E is a five-part series using open-source signal-analysis software to operate on the byte information in 5 pairs of raw image files – as enzymes do on strand templates in a double-helix – to synthesize a new, but inherited information apparatus: in this case, plotted data and video.

The code from each raw file in a pair was individually imported, then routed into color channels of red, green and blue, so corresponding with the original RGB color space of the file. Now a signal, the data was then mapped into a spectrum window – its metadata and bit densities on the x-axis as a function of frequency and magnitude; its pixel dimensions along the y-axis as a function of time.

Next, one signal of the pair was treated as a nucleotide chain in a leading strand of DNA, while the information from the second signal was regarded as a chain of nucleotides in a lagging strand. To excavate and focus in on the spectral energy inherent to each pair of signals, as well as to map the anti-parallel, 3-5-prime directionality of the byte strands, the domains of frequency, magnitude and time in the red channel of the leading signal were inverted and summed to one, while the frequency domains of the green and blue channels were flipped upside down. The lagging signal’s red and green channels were flipped similarly, and the bit order in its blue channel was reversed.

Charted as enzyme activities in the space of a cell, then, the data of the leading file moves to the right of its original order, and plays forward in time when displayed in the video window. Conversely, the information of the lagging file moves right, but also moves in reverse time within the scrolling display buffer. Five split-screen videos offer a record of these polymeric, enzyme-based actions, and an information plot containing all five pairs therein, is a transcript of the strand-files rejoined.


This statement appears in different form in the textual materials for Interphase, Sorry Archive, Select Fair, Miami, FL. Dec. 2-7, Press Release


E : D5, 2014. Split-screen, single channel HD video, 1280 x 720 pixels, (Excerpt) 00:12:26 of 01:12:12 minutes


E : D4, 2014. Split-screen, single channel HD video, 1280 x 720 pixels, (Excerpt) 00:14:21 of 01:12:12 minutes


E : D3, 2014. Split-screen, single channel HD video, 1280 x 720 pixels, (Excerpt) 00:15:37 of 01:12:13 minutes


E : D2, 2014. Split-screen, single channel HD video, 1280 x 720 pixels, (Excerpt) 00:07:06 of 01:12:13 minutes


E : D1, 2014. Split-screen, single channel HD video, 1280 x 720 pixels, (Excerpt) 00:04:09 of 01:12:13 minutes


Miscellany [Background Energy]”Way of the Dragon”, 2014. Single channel HD video with sound, 1280 x 546 pixels [Background Energy]”Way of the Dragon” explores the digital artifact, as a means to coping with information loss as a result of data compression. The algorithms that drive the compression methods we use to convert the world from analog to digital and back again to blur cannot recover all of the data that they quantize and crunch. Paradoxically, however, these methods are also inherently prone to error, and can as such introduce new data, (new) information on the other side of an operation or a decompressed file in the form of digital artifacts – leaving traces of the very same entropic characteristics by which they function. The audio-visual component of takes that information enigma as its point of departure, and offers a dialogue-deleted, artifact-laden clip from the film “Way of the Dragon.” Removing the clip’s dialogue released its background noise, for exploration, and it generated new artifacts stemming from the manipulation and repair of the audio track’s frequency spectrum. Exported as unstyled XML, the archive listing those audio-editing procedures was then further quantized to form this work’s diagrammatic component. Its 9,516,632 characters of code can be reconstituted as a set of instructions – an editing score – and as a wall of data, allowing us a very human experience in direct relation to the digital artifice therein. History Export

{XML Audio Editing Score: [Background Energy] “Way of the Dragon”}, 2014. Unstyled XML history export, compressed, 4161 x 2938 pixels

Detail: Top left; 2080 x 1469 pixels of 22930 x 9948 pixels actual




You and I, We’re on the Same Wavelength, 2014. Single channel HD video with sound, 1280 x 720 pixels, (Excerpt) minutes


You and I, We’re on the Same Wavelength is a performance across New York in multiple locations wherein I attempt to instinctually connect with strangers by yawning repeatedly, positing that a few will yawn back at me. Taking as its impetus the rapid evolution of virtual, discrete sites of connection in online social networks and their accompanying meme contagions, this piece seeks an offline analog to better understand these hidden loci through the mutually invisible properties of empathy and bonding. Subconscious and spreadable, it sees yawn contagion as just such a signal, and as a phenomenological site ripe for excavation.


I-V-IV17, 2014. Single channel HD video with sound, 1280 x 720 pixels, 01:11 minutes


I-V-IV17 explores how we process and adapt to change via sensory (dis)comfort. A painstakingly familiar I-V-IV progression of guitar chords in the Who’s “Baba O’ Riley” was isolated from the mix and placed into a spectrogram editor, where it was developed into a shifting visual score of colored frequency bands. The familiarity of the chord progression quickly fades in isolated repetition, and the visual score is disorienting, but the repetitions also allow for new sounds and color patterns to be perceived. Thus the more one discovers new sensory qualities in the piece, the more one adapts to the initial discomfort.


I-V-IV17_Visual Editing Score

I-V-IV17: Video Score for Spectral Audio Editing Software & Isolated Guitar Power Chords from The Who’s “Baba O’Riley,” 2014. Pencil and charcoal on paper, 11 x 14 inches


Swinger Data_spectrogram

Swinger Data | Swinger Data_spectrogram_~08:23.509-14:37.023, 2014. Audio file in Aiff format | Spectrogram in Tiff format | in thumbdrive, (Excerpt) 12:08 of 41:56 minutes| 2552 × 1250 pixels


Swinger Data began as a field recording of a pre-recorded liquidation advertisement on loop outside of an electronics store in Midtown Manhattan. The store’s closing sale was being broadcasted with the same wildly exaggerated enthusiasm as normally accompanies a grand opening sale, which was like listening to strategic effect announcing its ineffectiveness as strategy. This got me to thinking. So here was this ad eating itself, glitching away in some nonsensical feedback loop, but in relation to what; the expanding as-of-yet that we experience as reality, which is somehow supposed to be more logical, more stable in contrast? Trying to grasp the situation was like being in some kind of zero-coordinate perceptual gap, listening to senselessness as it infinitely reflects into a reality it can never catch up with while at the same time experiencing reality as it infinitely reflects into senselessness that already was. Pure mind rattling joy.
What Swinger Data became, then, is a celebration of this perceptual cavity. Every single sonic bit of the field recording – its recursive grammar, surrounding traffic, resonances and noise in feedback within feedback within feedback between microphone and source – was hacked further into self-referential nothingness; reassembled; disassembled; then reassembled again. The task was performed using spectral processing software. Like an audio prism, this software can divide a sound wave into the elemental vibrations that constitute it. BUT, and this is the truly wonderful part, as with any fine mechanism for measuring quanta, while the output phenomena can somehow be in two places at once, the input method, as of yet, cannot. In order to act upon the continuum of the wave, the software must either contract space or expand time – it cannot capture sound spectra in the present tense. In other words, dig into the hole all you want, but you’ll always only be left with what’s on your shovel and what you toss to the side. A loop for a loop and a cavity for a cavity. So the swinger data now traveling between your ears are not of the void, but sonic layers of distorted time and diminished space intersecting layers of constricted time and extended space, which shape its boundaries, and signal perception.

Assorted Projects

Assorted Projects

Facebook Facedata Download_A Self Portrait

Facebook Facedata Download: A Self Portrait
Variable formats, 1 AP: inkjet print on archival paper


The 49,785 HTML characters that form my profile picture in Facebook’s facial recognition database hereto declare that iAm an algorithm: iam a downloadable archive of multiple identities; an analyzable series of data coordinates and color numerics – a renderable map of bits and type, tags and comments in network exchange if and only if in fracture of gamut and Euclidean bedlam.



Personal Statement

Permanent marker on found laminate board


Hypertask: I Want My Behind The Music
Single channel video with sound


Hypertask: I Want My Behind The Music investigates completing an infinite task within a finite amount of time. In this case, an audio amalgam consisting of the intro synth to MC Hammer’s “U Can’t Touch This,” and Will Smith’s vocal line, ‘started making trouble in my neighborhood,’ from “The Fresh Prince of Bel-Air” theme, was placed on loop within a left-right moving video frame on continual repeat itself, and which was generated from a video feedback loop between a small digital camera and television monitor. The audio was constructed in a manner such that the first sample is shorter than the second; so that when the video frame has repeated, the sounds of both Hammer’s synth, and Smith’s voice will have traveled faster – and longer – than the time it takes the moving images within the frame to complete a full left-right rotation. With this variance between the speeds of sound and light, the hope is to instill in the participant the feeling of sound having traveled infinitely faster than the finitude of light within a video frame.


Address Space
Sound installation; thumbdrive: edition of 3

(excerpt) 00:02:06 of 00:20:32


Address Space was performed at Hotel Particulier’s “Uncollectable” (NY, 2013) and was conceived to make its performer – a songwriter – quite literally unable to perform his pop song due to lack of breath and bodily wear: to wear out his ability to entertain. The sound is the spectral progeny of the pop song’s vocal track, which was leveled to expose its sonic bedrock, entertainment language’s audio quanta; the meat. In so doing, the piece aims at a sensory unification with the audience beyond the extremities of prescription and calculus that are the me-me-me of emotion and it-it-it of reason, respectively.


Sound installation; performance

(excerpt) 00:05:06 of 00:12:18


Spine is a collaboration with poet Rodrigo Toscano, which was performed at The St. Mark’s Poetry Project’s “Epic Now: Epic Poetry for Epic Times” (NY, 2013). It is a body-movement poem for three players, which explores with sound the physiology of an economically highjacked language as expressed by three coterminous “entities” in an eternal, futile-victorious struggle of the continuous human bodily present. Every unfolding micro-sound is derived discursively from the unfolding macro-speech of the recorded text, resulting in a sonifold: a soundspace of obfuscated borders, wherein subspaces compete for prominence while seeking to destabilize the certainty of spatial boundaries between sound, body and text.


Audio Hacks


Wings Greatest Hits: All The Hits, Backward, At The Same Time
“Wings Greatest” recording in AIFF format


Assorted Projects + Audio Hacks

Assorted Projects
Single channel video with sound


Dimensions pulls together video from contributors in numerous geographies, recorded at various angles, to explore distance and direction in relation to sound. After isolating the geometric image- and sound-properties inherent to each video submitted, those features were then separated and paired with a different video from the pool, comprised of their spatiotemporal opposites. This procedure was then repeated on the frame attributes and visual content itself in each video, so that no two adjacent images would move in the same direction, or at the same speed. The result is a direct attempt at fracturing perceptual links between audition and sight.


Single channel video with sound


Audio Hacks


Gross Domestic Product
Spectrally processed telemarketing voicemail in Aiff format


Behaviors, Species 1 [Collaboration: Jaime Rodríguez Matos]
Electroacoustic composition in Aiff format