My work focuses on themes of time, fragmentation, and individual perception. It attempts to challenge conventions of these themes by putting control in the hands of multiple users, and requiring users to understand how their perception is affected not only by their own contribution to the piece, but the collective presence of the piece in combination with the time, space, and other individuals who are present.
Baby's Allright LED Wall
Collaboration with Dan Scofield and Tucker Viemeister, 2013
Working with industrial designer Tucker Viemeister
, and my artistic collaborator Dan Scofield
, we created two custom LED walls for the Brooklyn music venue Baby's Allright
Both walls feature custom-assembled LED grids, as well as custom software that allows for programmable and reactive output. They draw upon the design language of the venue to enhance the visitors' experience.Article:
Gothamist - Inside Baby's All Right, Williamsburg's Beautiful New Barstaurant & Rock Venue
Newest Sounds Of Nature
Collaboration with Dan Scofield, 2012
Designed specifically for the Data Garden's Switched on Garden 002
, Newest Sounds of Nature is an immersive spatial audio experience. The piece is a site-specific work designed for a grove in Bertram's Botanical Garden in Philadelphia, PA.
As users enter the grove, they become part of a dynamic surround sound mix, generated based on real-time of the location of all users in the grove. A curated audio engine allows the users to sonically explore the space, and allow themselves to "discover" the sounds that are spatially hidden within the grove's borders.Video:
GridMusic is a one hour large-scale sound installation and performance intended to represent the pedestrian dynamics of a public space in auditory form. Using a digital camera as a sensor, the piece divides the space into a grid, each square of which has a binary state based on whether or not pedestrian movement is occurring at that moment. This binary grid is then fed into a custom sound engine which creates generative audio from raw sine waves based on the state of the grid.
Over the course of the piece’s duration, the generative audio gradually transforms to represent activity within the space, and creates an audio portrait of the space that is unique in space and time. By adopting this new perspective on public space, we can more easily understand how pedestrian dynamics are fluid, while simultaneously adhering to trends and patterns based on time and activity.Video:
ITP Thesis PresentationAudio:
Open House Gallery, 5/15/2012, 8PM
Grand Central Terminal, 4/27/2011, 9PM
Lounge Act is an interactive sound and video installation that uses multi-tracked version of popular music compositions to address the transitory nature of composition and musical creation. The process begins with a mapping of each track of a recording to a specific region of a bar, cafe, or other public space. As individuals enter or exit this mapped region, the associated track is activated or deactivated, respectively, and its state is represented by a projected data visualization. The user then becomes the de facto “DJ”, manipulating the mix with their physical presence.
The resultant mix of the audio over a local PA is a completely unique representation of the musical composition in question, created in real time by the occupants of the installation’s area. This real-time mix reveals previously hidden facets of the recorded tracks, encourages interaction of the space’s population, and questions the permanence of mixing as a compositional tool.Headroom mk. 2
Collaboration with Luis Violante, 2010:
Headroom Mk. 2 is an iteration on the original Headroom project. Tasked with “removing all technology” from the original Headroom as a classroom exercise, Headroom Mk. 2 is the result. A collaboration with fellow student
Luis Violante, the piece forgoes digital cameras in favor of double sided mirrors, and grid resolution in favor of varied holes in those mirrors.
As users sit on either side of the installation, they are confronted with their own reflection, and the simultaneous presence of their compatriot through the mirror’s holes. This recreates the personal perception phenomena of the original Headroom, as the user must negotiate the reality of their combined facial features.
In situ, Headroom Mk. 2 encouraged even more interaction than its precursor, due to the immediacy of the individuals being directly across from each other. The absence of technology changed users’ behavior, as they focused more on the interaction, and less on the use of devices. In doing so, it illustrated that technology is merely a tool like any other, and that human perception is fundamental to any experience.Video:
Sine Beats, 2010:
Sine Beats is a live performance piece consisting of halogen lights, and layered single-tone sine waves. These elements are combined using a set of custom controllers, each one associated with a light and tone pair. The controller is adjusted in real time to gradually layer the waves and create the phenomena of sine “beating” as the waves interact in both frequency and volume.
By adding and subtracting waves in real time, the piece calls to the observer’s attention the fundamental building blocks of sound, and the physical manifestation of wave
form synthesis. Simultaneously, the halogen lights strobe in sync with their associated frequency, further drawing the observer’s attention to the single tone waves, and their interaction over the course of the performance.Video:
- Glasslands, "NIME", Brooklyn, NY: December 2010
Headroom is an interactive installation that juxtaposes the features of two individuals using a pixel based grid. The piece consists of a monitor, two helmets mounted with digital cameras, and a controller that adjusts the resolution of the grid. Using the controller one of the users, or a third individual, can adjust the resolution of the grid and explore the intersection of the features and behavior of two individuals.
Headroom seeks not only to combine the facial features of two individuals, but also to encourage the playful interaction that results when two individuals experience a “shared” face. Using a basic grid format, the piece encourages users to contemplate perceptions of their appearance and the appearance of others, and how the two are connected.Video:
- ITP, "Winter Show", NYC: May 2010