Assorted Projects

Assorted Projects

Facebook Facedata Download_A Self Portrait

Facebook Facedata Download: A Self Portrait
2013
Variable formats, 1 AP: inkjet print on archival paper
28x74in.

 

The 49,785 HTML characters that form my profile picture in Facebook’s facial recognition database hereto declare that iAm an algorithm: iam a downloadable archive of multiple identities; an analyzable series of data coordinates and color numerics – a renderable map of bits and type, tags and comments in network exchange if and only if in fracture of gamut and Euclidean bedlam.

 
 
 
 
 
 

Terrified_Emotions_newest

Personal Statement
2013

Permanent marker on found laminate board
32x47in.

 
 
 
 
 
 
 

Hypertask: I Want My Behind The Music
2013
Single channel video with sound
640×480
00:01:30

 

Hypertask: I Want My Behind The Music investigates completing an infinite task within a finite amount of time. In this case, an audio amalgam consisting of the intro synth to MC Hammer’s “U Can’t Touch This,” and Will Smith’s vocal line, ‘started making trouble in my neighborhood,’ from “The Fresh Prince of Bel-Air” theme, was placed on loop within a left-right moving video frame on continual repeat itself, and which was generated from a video feedback loop between a small digital camera and television monitor. The audio was constructed in a manner such that the first sample is shorter than the second; so that when the video frame has repeated, the sounds of both Hammer’s synth, and Smith’s voice will have traveled faster – and longer – than the time it takes the moving images within the frame to complete a full left-right rotation. With this variance between the speeds of sound and light, the hope is to instill in the participant the feeling of sound having traveled infinitely faster than the finitude of light within a video frame.

 
 
 
 
 
 

Address Space
2013
Sound installation; thumbdrive: edition of 3

(excerpt) 00:02:06 of 00:20:32

 

Address Space was performed at Hotel Particulier’s “Uncollectable” (NY, 2013) and was conceived to make its performer – a songwriter – quite literally unable to perform his pop song due to lack of breath and bodily wear: to wear out his ability to entertain. The sound is the spectral progeny of the pop song’s vocal track, which was leveled to expose its sonic bedrock, entertainment language’s audio quanta; the meat. In so doing, the piece aims at a sensory unification with the audience beyond the extremities of prescription and calculus that are the me-me-me of emotion and it-it-it of reason, respectively.

 
 
 
 
 
 
 

Spine
2013
Sound installation; performance

(excerpt) 00:05:06 of 00:12:18

 

Spine is a collaboration with poet Rodrigo Toscano, which was performed at The St. Mark’s Poetry Project’s “Epic Now: Epic Poetry for Epic Times” (NY, 2013). It is a body-movement poem for three players, which explores with sound the physiology of an economically highjacked language as expressed by three coterminous “entities” in an eternal, futile-victorious struggle of the continuous human bodily present. Every unfolding micro-sound is derived discursively from the unfolding macro-speech of the recorded text, resulting in a sonifold: a soundspace of obfuscated borders, wherein subspaces compete for prominence while seeking to destabilize the certainty of spatial boundaries between sound, body and text.

 
 
 
 
 
 

Audio Hacks

 

audio-player_picture_example
Wings Greatest Hits: All The Hits, Backward, At The Same Time
2013
“Wings Greatest” recording in AIFF format

00:05:58