Vantage

I am in a group show with Avantika Bawa, Golan Levin, Stephen Slappe, Victoria Haven, and Isaac Layman called Vantage that just opened at the Archer Gallery at Clark College
in Vancouver. The show was curated by Blake Shell.

The show was posted on artforum.com...here

My contribution, That Intricate Never, was a sound work using PD that re-sampled itself and responded to the acoustics of the room.













It also was mentioned on February 10, 2010 on disquiet.com and reviewed by Lisa Radon (who also e-publishes Ultra) for Portland Monthly here.

objects on the horizon

group exhibition at the Ewing Gallery at UT Knoxville

reflected territories

hoopsnake collaborative project in Saint Louis at the Good Citizen

made with the help of:

Randy Peterson
Nels Oscar
Stas Veselovskyi
Tyler Cooney




































































Reflected Territories is a sculptural work that shapes sound with
constructed objects and the architecture of the building itself. The central sculpture was designed to reflect, obstruct, amplify, or attenuate certain sounds depending on their wavelength and volume. Certain sounds can pass through each of the successively smaller iterations of the open triangles while other are reflected in other directions or killed altogether. The differences are hardly registered by the human ear but measurable. Microphones gather the sounds at different points and create a feedback loop of the sounds by sending them back through the small speaker and the larger parabolic speaker placed a few feet from the sculpture. The sounds are processed by an opensource programming environment called Pure Data. A second computer captures sounds as they bounce around (the resonant frequencies that bounce through the building itself) and projects them via the octagonal speaker and microphone at the back of the room. The arrangement of the sounds is dictated by what the computers record and find in the sounds and simple but shifting directions written into the code.

The entire sound field is initiated by introducing a single sound into the room, a recording of one key from a piano in need of tuning. This sound reappears periodically, adding another referential layer of feedback. While not musical, the composition of the sounds is dependant on this very simple sonic theme similar to, but more basic and fundamental, the approach taken in arrangement of a fugue in classical music in which a simple series of notes is used to construct a complex work. These sounds are not arranged to provide a recognizable musical structure. Rather they are reformed and shaped by the building, the sculpture, and the animal skins on the wall with the intent of expanding and compressing the sense of space and altering our sense of the place.

A Raising

a show at Ditch Projects in Oregon







































opening April 3- a sound installation in a old mill turned gallery operated by Rob Smith, Donald Morgan and more good folks.

The building straddles a creek and a microphone is set down in one of the holes in the floor that is open through the concrete to the water. The sound was reprocessed to generate a raised waterline of sorts in the space and a second mic was in the gallery to contribute an ebb and flow of additional feedback in the sound. I tried to channel Tartovsky, particularly Stalker as I have been really interested in his films the continued but transforming use of water as metaphor in his films from Rublev to Stalker.

I also had the chance to play live with my friend Rob Smith at the opening for the first time in a while...

Stephen Vitiello at church






























Stephen Vitiello came to Sewanee to put up a show of graphic scores in the Carlos Gallery and a 6 channel installation in a decommissioned church now used by the college's Music Department. I set this up using a simple PD patch to play the 6 channels and present title information.

Userland[s]- expanded





































































adapted from the previous installation- this time using cameras and sensor data networked between 3 cpus to create an installation that uses the central grid as a score. Other phenomena: from audible, visual, and movement, affects the changes in the sound. The pieces in the grid are movable, the score was recolored and shifted periodically throughout the show.

FM Post for the Grand Mal, Ian Curtis, and all Mountains Under Erasure

new work for a show at Zeitgeist Gallery in Nashville, another link for ZG here

A portable sound station with 3, 4 -channel sound pieces generated with Pure Data are orchestrated by 2 internally-networked cpus housed in the wooden sculpture. The sounds generate an alternating expanding and compressing sonic landscape with various kinds of manipulated waveforms through granular synthesis and other techniques. The code is projected. The sensors and an Arduino microcontroller in the wooden sculpture respond to the way the sound behaves in each space and provide input that affects the behavior of the software and the sound. The piece can be connected to the internet and operated remotely.













Installed at Bridgewater State College in Massachusetts

a lot of thanks goes to Collin Asmus for his help. His invitation to show there got me moving on this sooner than I would have otherwise and without his help it wouldn't have gotten installed.

Thanks also goes to Archie Stapleton and Lauren Busey for their help in the studio

software contributions in Pure Data come from Hans Chrtistoph Steiner, Kevin McCoy, and Dan Trueman

installation from show at the Zeitgeist Gallery last summer with Bjorn Sterri

freedom from want freedom from need

freedomfromwant & freedomfromneed- sculptures made from concrete statues, welded steel and vibrating motors controlled by Pure Data via a microcontroller. The motors cause vibrations and slight swaying motion throughout the steel structure. these vibrations translate to sound as the steel plate beneath the statue functions as a resonator with the floor. Images of the Pure Data patches that control the motors are below, software contributions by Hans Christoph Steiner

notes for a supplanted landscape

monument for the memory of the ride over pink mountain
sound sculpture

code that generates sound patterns

collaborations with Bjorn Sterri

Pure Data patch for a collaboration using Processing to scan images by photographer Bjorn Sterri and generate sound pieces from data gathered from the images

white flight- animation generated from Processing and Pure Data
the picture was taken from the hills above Marseille