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Celebrating the launch of Attensity!, the Strother School of Radical Attention (SoRA) holds a series of four participatory events where we will collectively create and test-drive vessels for human attention. Over the course of four weeks, four hosts will activate the Sanctuary Gallery in DUMBO with sound, film, objects and movement, and lecture performance. 

Artist duo John Tsung and Leah Ogawa invite us to an evening of slow attention in their interactive installation and performance. Countless strands of white fabric suspended across the space slowly awaken hands, legs, flowers, and other recognizable silhouettes with Leah Ogawa’s puppetry—and steadily dissipate back into a sea of formlessness. John Tsung converses with these movements through music, and will invite attendees to partake in the ensemble through a sound interface that responds to vibrations in the environment.

Image: Leah Ogawa and John Tsung, Divine Generations vol.02, 2023, courtesy of the artists and photographed by Chika Kobari

About the artists

John Tsung (New York, NY) is an interdisciplinary artist, composer, and writer whose works explore migration and myth, particularly the concepts of transmigration and impermanence. Drawing on social practice and sound art, his works often involve emergent sounds and the creation of site-specific performance pieces, influenced by his Buddhist upbringing and classical training. Tsung’s installations and works have been performed in the US and Asia and featured in publications such as BOMB Magazine, Interview, and The New York Times. 

Leah Ogawa is an installation artist and puppeteer based in New York City. Raised in Yamanashi, Japan, Leah has worked with puppeteers, artists, and companies including The Metropolitan Opera, La MaMa, Dmitry Krymov, Phantom Limb, Dan Hurlin, Tom Lee, Nami Yamamoto, Loco 7, and others. She has performed across the US as well as at the Quay Branly in Paris and across Asia. Leah is a recipient of the Jim Henson Foundation’s workshop grant for her original piece, Growing Not Dying. Her recent work, Divine Generations with co-creator John Tsung, has been featured in the New York Times.

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At this open workshop, we will learn the basics of screenprinting and create our own upcycled SoRA merch. Bring whatever you want to revamp - old t-shirts, tote bags, or scrap paper - and we’ll provide various logos and our Attensity! Manifesto to mix and match into your one-of-a-kind design. 

We will begin by collectively reading and spending time with the Attensity! Manifesto, which is the crux of SoRA’s movement for attention liberation as well as our upcoming book, Attensity!. Then, we will consider our own personal connection to the different elements of the manifesto by composing our own screenprinted design of the images and text.

This workshop is open to participants with any and all levels of familiarity with printmaking. If you are only available for a portion of this event, we also welcome drop-in visitors to take advantage of the printing station. 

Limited blank totes will be provided for purchase!

Led by Francesca Barr, a teaching artist and writer from Massachusetts. She has led art programming at The People’s Forum, Penikese Island School, and other community organizations. 
@cesca.barr

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Celebrating the launch of Attensity!, the Strother School of Radical Attention (SoRA) holds a series of four participatory events where we will collectively create and test-drive vessels for human attention. Over the course of four weeks, four hosts will activate the Sanctuary Gallery in DUMBO with sound, film, objects and movement, and lecture performance. 

On February 22, visual artist and educator Taeyoon Choi presents Cotton King and A.I. God, a lecture performance unpacking the hidden ties between the cotton industry and A.I. Taeyoon guides us through his research with a custom interactive tool and music, making accessible connections between vast temporal and spatial distances while conveying the complexity of relationships between big tech and invisible labor. We will move through the attentional paths created by his alternative historical map, navigating the shadows of technologies which may at first glance appear ahistorical. 

This performance debuted at Seoul National University in November 2025, and a related site-specific work is featured in the exhibition Technology of Relations at MASS MoCA, on view from February 21.

Image: Taeyoon Choi, Cotton King A.I. God, Acrylics on Canvas, 2025. Courtesy of the artist

About the artist

Taeyoon Choi (Detroit, MI) explores the poetics of science, technology, society, and human relations. He works with computer programming, drawing, and writing, oftentimes in collaboration with fellow artists, experts and community members. His projects, participatory workshops, performances, and installations were presented at the New Museum of Contemporary Art, Whitney Museum of American Art, Los Angeles County Museum of Art, Smithsonian Asian Pacific American Center, Van Alen Institute, M+ Museum and more. Choi co-founded the School for Poetic Computation and taught classes there until 2020. Currently, he teaches Digital Art at Wayne State University, and serves on the board of AFIELD, an international network of changemakers.

RSVP HERE!

Celebrating the launch of Attensity!, the Strother School of Radical Attention (SoRA) holds a series of four participatory events where we will collectively create and test-drive vessels for human attention. Over the course of four weeks, four hosts will activate the Sanctuary Gallery in DUMBO with sound, film, objects and movement, and lecture performance. 

This film screening and discussion session spotlights the radical attention adopted by makers and viewers of Latin American revolutionary film. We will view two full-length films and short excerpts of Tercer Cine (“Third Cinema”), a movement born in the late 1960s that urged cinema to catalyze collective action through direct dialogue with audiences and interrogations on filmmakers and critics’ positions in the cultural economy. We will explore questions like: how can the attentional modes of viewership and direct action work for each other? How can creators balance survival with subversive action? How can processes of film-making and viewing incorporate principles of collective action?

La Fórmula Secreta (Rubén Gámez – México, 1965) is a surrealist experimental film that uses symbolic and poetic imagery to explore Mexican identity and its crisis in the 1960s. It centers on the metaphor of a dying man injected with Coca-Cola in an attempt to revive him — an act that instead unleashes a furious cascade of dreamlike images invoking ancestral, colonial, "Hispanic", and modern myths that estrange Mexican subjectivity. Memorias del Subdesarrollo (Tomás Gutiérrez Alea – Cuba, 1968) follows Sergio, a bourgeois intellectual who chooses to remain in Cuba after the Revolution while his wife and friends emigrate to the United States. Through a fragmented narrative style that blends fiction with documentary footage, Sergio reflects on the island’s profound social and political changes between the Bay of Pigs invasion and the Missile Crisis.

Tercer Cine was coined by Argentinian filmmakers Fernando Solanas and Octavio Getino in their manifesto “Hacia al Tercer Cine (Towards a Third Cinema),” who called for the “transformation from mere entertainment into an active means of dealienation” beyond Hollywood (First Cinema) and European auteur cinema (Second Cinema). Its message has resonated beyond the 1960s and 1970s in Latin America into global cinema today.

About the artist

Ana Begoña Armengod (Philadelphia, PA) is a Mexican multidisciplinary artist born in Mazatlán Sinaloa. Her art encompasses a wide range of mediums including film, illustration, writing, sculpture, installation, and sound. Her work is tied with nature and its death, as well as the small details that get lost in the bigger picture. Focused on accentuating the overlooked and unimportant, she gives magnitude to human reactions, history, emotion, and the environment while questioning how these things push us to evolve.