Extinction Blues is an audiovisual piece and score originally composed for percussionist Sean Goldman. In this version Goldman improvises with the snareophone (cymbal plus snare played like a trumpet).
Extinction Blues considers collective visions of eschatology and world endings. The score is constructed from various pieces of data from hurricane tracks to market data. The video is almost entirely appropriated and constructed in an accelerated manner.
integral accident is a video installation concerned with the relationship of the accident to emergent technology. Paul Virilio claims that every new technology contains its accompanying accident: the car with the car accident, the train with the derailment, and so on. With that in mind, what accidents has the internet created? What can the advent of the interstate system, a technoeconomic collusion between the Pentagon and the automobile industry, tell us about how the internet has and is changing the world? What infrastructure might be manifest in the physical realm? integral accident applies the lens of speculation to the future of the internet and how it might continue to shape, make and unmake the world in its own interest.
Video:
Original video, plundered videos from Youtube, William Sarradet, Jon Rafman and Archive.org
Audio:
Original audio, plundered audio, BWV 572 and sounds from Archive.org
Fondness Area (version 1 and 2) is a performance piece originally created for performance at a joint recital with Sam Friedland called Safe and Reasonable Things on March 10th, 2017. Both versions use field recordings, plundered audio, recordings of phone conversations, records of social media interactions and live phone conversations. This piece is concerned with intimacy over long distances and the creation of a performance space that collapses physical, digital and political spaces into an observable tableau of actions.
black box is an intermedia installation that continues a near obsession with intimacy between digital objects and systems. The emergent properties of this piece are generated through simple means combined in a complicated manner: optical feedback, frame differencing (Jitter), field recordings and generative audio synthesis. Optical feedback is generated on a round scrim which is "observed" by a webcam. This footage is then routed through Jitter so that only patterns in motion are projected on the rear wall. A sound reminiscent of a heartbeat occurs when one pixel is triggered by the optical feedback. Being an unpredictable system, the projections sometimes begin to strobe and observers must "calm" the visuals by slowly passing a hand in front of either of the cameras. Much like a living thing, the nature of this system can only be mapped by observation and interaction.
black box, Calarts (WaveCave), November 2017
blood band is a generative video piece made in Jitter concerned with iconic sounds, archival footage and imagery from the AIDS crisis of the 1980s. Part of the group show, jitdotdeath, as a final project for a video graphics class taught by Clay Chaplin.
blood band, Calarts (WaveCave), December 2017
What Was Found is a time-based piece for 16 players. The score is derived from a 30 minute field recording taken in Brooklyn, NY during the winter of 2016. The composition doesn't attempt to imitate the sounds of the recording but rather constructed to mirror the affect of different regions of it. The quiet streets of Bushwick become creaks and pops from the orchestra and a subway ride becomes a drawn out microtonal drone. The players are set up so that every string instrument has a duplicate at the other side of the ensemble so that sounds and events can be spatialized.
Each player has an individual part and changes throughout the piece happen in a staggered and gradual manner. An explicit goal of the piece is that individual sounds might, even if for one fleeting moment, collapse into one collective field. Numerous processes are set into motion so that the orchestra might act as one instrument.
