This project is based on the telematic practice of “sampling” images from these cameras, whose presence is virtual but whose subjects are real. I meld these found images into time-lapse videos, then use the results as a visual “score” for which I compose musical accompaniment. The resulting rhythms of change, textures of image, and qualities of light form an expressive, subtle portrait of the original spaces, of which the exact actual location is never known.

In addition to manifesting the specific, quotidian character of these indoor and outdoor urban spaces, the works incorporate themes of surveillance, networked communication as a means of bridging virtual and actual spaces, and an unusual approach to sampling and found materials.

The Sound Parasites are designed to feed off the verbal energy of sound-emitting hosts, disrupting their sonic integrity but providing an annoyingly/amusingly glitched remix of the original sound material. They are worn by the artist, who then interacts with the public, or they can be alternately deployed by being spontaneously attached to other performers (or any sound-producing medium) to form a simultaneous audio intervention. Their autonomous chatter satirizes both the vapidity of our current culture of ubiquitous communication devices and the elaborately futile surveillance that characterizes our current political regime.

The Parasites are built using a version of my Sound Modules, consisting of a custom-designed circuit board, PIC microcontroller, and control software and pattern algorithms written in C, as well as a condenser microphone and several small speakers.

This piece manifests the attraction/ repulsion relationship I have with TV. It provides a hyper-stimulating barrage of fast-paced images and sounds, yet frustrates attempts to actually ‘watch’ it in a conventional sense.

Created as the culmination of my MFA in Art & Technology, this electronic installation is run by a MAX/MSP/Jitter patch that both outputs video samples and talks to a PIC microcontroller. The PIC is programmed in C with my rhythmic pattern algorithms and controls custom video switching electronics.

The analog synth-inspired instrument consists of a custom hardware controller interface containing a usb joystick control board wired to a variety of knobs and button banks, as well as a pair of mini lcd screens and digital-analog video scan converters. The interface is connected to a Max/MSP/Jitter software application I built, which contains video and audio sampling, triggering, and effects modules.

Examines the euphemistic language used by the TV media to describe or camouflage violent acts.

Part Two – ’3 Memories of War’

Explores the history of how representations of war violence contributed to anti-war movements in Vietnam and World War II.

Part Three – ‘Questioning Entertainment’

Highlights the paradox of violent imagery that is ‘entertaining.’