About

The Brayver Concern is an artist collective based in upstate New York led by James Bigbee Garver and Rebecca Bray. The Brayver Concern’s work is immersive, performative multimedia that explores human-machine interactions and representations of invisible information.

 

Rebecca Bray’s work incorporates installation, animation, video, electronics, performance and participation, involving the audience as participants in meaningful interactions with questions about technology, data, science and the natural world. She was an artist-in-residence at Eyebeam Art + Technology Center where she co-created WindowFarms, a crowdsourced design project. Her installation and workshop kit experience DrinkPeeDrinkPeeDrinkPee was shown at MoMA and Eyebeam and featured in ArtNews in 2008. Her collaboration Botanicalls, a system allowing plants to talk, was installed in the recent MoMA show Talk to Me and is in their permanent collection. Her interactive 3D animation “H20=Life” was commissioned by the American Museum of Natural History and on exhibition there. She also produced The Meatrix, an award-winning animation that went viral in 2003 and has been viewed by millions. She was co-founder of Glassbead Collective, through which she created and produced large-scale live projected visuals. She co-founded a multimedia production company, Submersible Design, through which she created multimedia projects for museums including the Whitney, AMNH, NMNH, among others. Her work has also been in the Ars Electronica Festival in Austria, and the Conflux and Megopolis Festivals, and featured on the BBC, NPR, Discovery Channel, as well as in the New York Times, ArtNews, and Wired. She holds a masters degree from NYU’s Tisch School of the Arts’ Interactive Telecommunications Program, where she studied and taught interactive technology. She is the Chief of Experience Design at the Smithsonian Institution’s National Museum of Natural History.

 

James Bigbee Garver has been working as a sound designer and composer since 2000, preferring the title of Sound Writer. He creates sonic inventions, soundscapes and music for live performance, interactive media, and film, often mixing the timbres of acoustic instruments with synthetic audio to sculpt imagined textures and environments, sometimes danceable, sometimes hummable, often neither. His tools typically consist of original compositions, sampled music, spoken words, sound effects, and live signal processing. His music and sound designs have been heard at numerous New York City venues including Lincoln Center, The 92nd St. Y, Joyce SoHo, The Atlantic Theatre Company, Japan Society, Performance Space 122, The World Financial Center, and on Long Island at Robert Wilson's Watermill Center. He’s currently based in Washington, DC where his work has been heard at Signature Theatre, Woolly Mammoth, Folger Shakespeare Theater, The Studio Theatre, Theater J, Round House Theater, Georgetown University, Synetic Theatre, WordDance, and CityDance Ensemble, among others. His sound designs for interactive media have appeared in exhibts at the American Museum of Natural History, the Smithsonian Institution’s National Museum of Natural History and National Museum of American History, the Megapolis Audio Festival, and the Conflux Festival. In 2006, with choreographer Peter Kyle, James created the Tiny Dance Film Series, an installation of very short and very small dance films screened in a darkened kiosk for an audience of one. The series has been on view throughout the U.S., Europe, and South China.