MomenTech, United States

Residency Period: 1 November 2013 - 30 April 2014


MomenTech is an experimental production studio based in New York City, founded in 2010 by Filipino-American conceptual artist Reynard Loki and Polish-American multimedia artist Maciej Toporowicz. American filmmaker Mika Johnson joined in 2013. Inspired by transnational progressivism, cosmology, post-humanism, ecology, neo-nomadism, futurism and more, MomenTech has created pop culture remixes, instructional works, site-specifc installations, public space interventions and user-generated content pieces, developing over 35 projects and participating in 18 group exhibitions in the United States, Canada, Germany, Italy, Greece, South Africa, China and the Philippines.

On-hiatus Proposal Summary

As of November 1, 2013, MomenTech is on hiatus from any and all creative production for a six-month period as they engage fully with our proposed on-hiatus activity: a daily meditation practice.

MomenTech's hiatus residency also includes meditation research, data collection and progress updates posted to the RFAOH website.

This investigation into meditation continues MomenTech's interest in the practice, which began in 2010 with Field Experiment, an interactive, site-specific audiovisual project that explores meditation, self-hypnosis, the media and our cosmic origins (via Cosmic Microwave Background Radiation, or CMBR) by asking participants to imagine a field after having stared into live television static for a period of 10 seconds. Field Experiment was selected by the Behring Institute of Medical Research to be a part of their first publication for "Placebos for Art," a long-term research project investigating the influence of "art-based placebos" on public health.

Meditation was also a theme in MomenTech's 2011 project Mandala-Tanque, in which pétanque competitors are invited to play a game on the surface of the pétanque court on which a Tibetan Buddhist sand mandala has been drawn. The project was selected for inclusion at the 2011 Dumbo Arts Festival.

MomenTech will resume its normal production schedule on May 1, 2014.

To contact MomenTech, please email:

Final Report

Reynard Loki:

Being the primary writer in MomenTech, the task of composing the group's response to the exit questionnaire naturally fell on me. My suggestion to my fellow collaborators was that I would draft a response from the group as a whole and Mika and Maciej would add their own thoughts. But the more I thought about what we "should" express as a group, the more I realized that it was a bit of a fool's errand. It makes sense: Meditation—the daily practice of which was the main activity of MomenTech's residency—is ultimately an individual journey.

Of course, group meditation is a common practice; I have participated in several such gatherings at the Tibet House in New York during our residency as part of my own exploration into the various styles of meditation. But in the end, meditation is an intensely personal activity that can lead to intensely personal revelations, even as it may help to strip away what is to be one of humans' heaviest burdens: the ego.

The initial structure of our residency was straightforward: Each of MomenTech's three members would engage in an individual daily meditation practice for the residency's six-month period. But while the design of our residency may have been rather simple, its goals were anything but: to "develop mindfulness, concentration, insight, wisdom." That's pretty heavy-duty stuff.

Did we develop any of these aspects? I'd like to say yes, but who can really know? Meditation is not so much a "fix-it" therapy as it is a lifestyle, a way of being present in the world. Perhaps that movement towards "being present" and "being in the present" affected MomenTech's ability to plan for future events around the residency. For example, at the outset, we were all gung-ho about hosting weekly online open meditation sessions via Google Hangouts. That plan never materialized until the very end. (We hosted an open meditation on Google Hangout on the last day of our residency.)

One thing is for sure, MomenTech really did go on hiatus and for the first time in our four-year history, took a break from making art; or rather, taking a break from producing the things MomenTech produces (MomenTech, as a rule, avoids using the terms "art" and "artists.") But is that even possible? Art is often compared to life. And if art, like life, is a continual process, then can an artist truly avoid "making art"? Perhaps MomenTech did not think about, design and build a "product," per se, but the experiences we had, both individually and as a group, during our six month hiatus will forever be a part of all our future work in some fundamental way.

Our residency did "create" one kind of important thing: questions. And perhaps the best thing about our residency with RFAOH. Some of the best effects that meditation can call forth have to do with a growth in awareness. And part of becoming aware is to challenge one's status quo, to continually ask questions. What is art? What does it mean to create it? Can an artist take a break from making art? Is meditation an art form? Conversely, can making art be meditative?

I asked my fellow MomenTechnicians to email me a few lines of thoughts and observations a few days after the residency ended.


Maciej Toporowicz:

"Having a surgery and recovery during the residency taught me that meditation has its limits, at least for me," Maciej said. "I wasn't able to meditate, because the post-surgery stress was too much." He added that "having opportunity to meditate more often than usually moved me closer to solving my personal koan, the one I have been trying to solve since a while."


Mika Johnson:

"The main challenge the residency posed for me was in relation to self-discipline. On some days finding time to meditate was not an issue, whereas on other days it was almost interruptive, even frustrating. Undoubtedly, this was partly because the residency was not in a physical space, with a community of artists or meditation practitioners working toward a common goal. However, in the end, this absence of a physical space and community made my practice stronger, in the sense that I had to learn to integrate my meditation time with my normal routines and responsibilities, which is also a useful approach to art making as well.

"In the beginning, we had originally set out to answer short daily and weekly questionnaires. We took a lot of time formulating these questions, which were later abandoned. My guess is that the practice immediately became something very personal, which in many ways was difficult to comment on, at least by questionnaire. I responded similarly to the blog, in the sense that I found it challening to write about something that felt entirely personal. I simply didn’t feel I had much to contribute, as the content of that practice was my own subjectivity, not something that I could generalize about or even articulate. In retrospect, I do wish MomenTech had agreed to do one spontaneous drawing before and after each meditation session, as it would have physicalized that response, without rationalizing it. We did this on the last day and all found it surprisingly interesting and satisfying."

"Life is a process of becoming, a combination of states we have to go through," wrote French author Anais Nin. "Where people fail is that they wish to elect a state and remain in it. This is a kind of death."


Could taking a break from "creating art" help to avoid a kind of "artistic death"? Perhaps. One thing is for sure, for six months, a residency with RFAOH changed the normal "elected" state of MomenTech. The decision to meditate during our hiatus only heightened the experience.

Finally, on behalf of MomenTech, I would like to thank Matt and Shinobu, the founders of RFAOH, for making this all possible. We are fortunate to have been a part of this program. Through our residency, MomenTech sowed important seeds for the future.




recent comments

Sculpting in Time

I know of no other filmmaker, before or after Tarkovsky, that devoted so much of their artistic practice to understanding time. The theme is present from his first film on. His book about cinema and art in general is even titled “Sculpting in Time”. About halfway through his career, or at least from “Solaris” on, Tarkovsky began to embed long scenes which double as meditative rituals, both for the viewer and the filmmakers working under his direction. This video, from “Nostalgia”, is one such scene and it does not, thankfully, spoil the ending, which to me is one of the most spiritual moments ever captured on film. 

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Meditation and Singularity

The term “Singularity” has been been popularized by well-known futurist Ray Kurzweil, who argues that with advances in computing and medical and nano-technology, we will be able to transfer our brain (and our consciousness) onto a super-human computer (or computer chip, or other computing device), allowing us to effectively live forever on silicon rather than biology.
Naropa (1016-1100) was a Buddhist scholar. He realized the illusory nature of physical reality and finally achieved liberation by seeing the true nature of consciousness and how it attaches to and detaches from the physical body. He systemized the Six Yogas of Naropa and taught them to his disciples.  The Six Yogas, which have been taught primarily in secret over the years, are all about what happens to our consciousness when we go to sleep and when we die.
Two of the Yogas, that of Consciousness Transference and Forceful Projection, are directly related to transferring the consciousness of a person who is dying out of the body to “somewhere else” so that it can “live on” in the physical world. According to the literature, adepts at this Yoga were able, at exactly the time of their death, to “transfer” their consciousness out of their body and “forcefully project” it into another living “host” nearby. 
So, it seems to me that before we barge ahead trying to transfer our brain’s neural patterns to a physical device, we might want to invite in the experts at consciousness (Tibetan and Indian Yogis) and see if we can learn something from them about how consciousness works both while we’re alive and when we die.  Once we can reproduce the Yoga of forceful projection in a laboratory setting, we could then move on to how we might project our minds onto a superintelligent computing device.
This text is loosely based on Wikipedia and writing by Zen Enterprenuer
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lotus wrote on Nov 20:

Right on anonymous. We are all stardust. It is intuitive feeling felt by some of us. Meditation brings us closer to it.

anonymous wrote on Nov 17:

Love this short piece. After studying Buddhism, Yoga, and Shamanism, I think that people who believe that advances in technology will provide a solution to death are generally unaware of this research above. They also seem unaware that the system we're born in to, which includes death, is already perfect. There is nothing to overcome in my opinion, except this idea of individual identity. We already live forever, just not within one form. Maybe in the end, we get to be everything, at least once, or maybe we already are. So futurists like Kurzweil are simply attached to saving one identity, like wanting one leaf on one tree to last forever without embracing the beauty of the cycle that is the seed and the forest. It seems as banal as that version of heaven where one imagines that they will live on, much like they did on Earth, but in some "other world", forever. Why not just embrace and take care of this one? We might be coming back. Biologically speaking, it would be impossible for you to leave. Your teeth and bones are made of stars.