Live At Secret Project Robot
Drumkit, Analog/Digital Modular Synthesizer, Max/MSP and Live Software
︎ Performance, Recording
︎ 7” Lathe Cut Record
︎ Cover image by Andrew Long
Live At Secret Project Robot documents my ongoing duet with Brian Chase (2014 - present). We use a drumkit wired with receivers and microphones, feeding the raw sound through external effects processors and devices such as samplers, all parts of which are capable of being controlled and manipulated in real-time. Constructed from a live recording, the two tracks for this release were edited and shape-shifted in post-production, further blurring the line between stage and studio.
Open Source Webcam Stream, Analog/Digital Modular Synthesizer, Max/MSP and Live Software
︎ at Pioneer Works
︎ Studio documentation from Dec 2017
This webcam audiovisual work investigates the sonification of Times Square. With the ubiquity of streaming digital content, it seems we often choose to be in two places at once. Utilizing a variety of data extraction techniques, I interpret and layer information (sounds, movement, levels of sunlight) from an open source and public webcam, suggesting an alternative soundtrack for the crowded and busy space.
Untitled (Solo Electronics)
Analog/Digital Modular Synthesizer
︎ at Fridman Gallery
︎ Visuals by Andrew Long
This performance demonstrates my current approach towards solo electronic live performances, employing visual collaboration. In this circumstance, incorporating a series of large scale projections generated by NYC artist, Andrew Long. After discussing intentions, a series of still images were produced using a handheld scanning device in conjunction with used building materials and brass rod on randomized pages of a phone-directory. Each image slowly morphs into another.
Piano, iPhone, iPad, Loudspeakers, Skype, FaceTime and Live Software
︎ Sound Installation, Performance
︎ at West Space Gallery
Artifacts is a collaboration with pianist Nathan Liow. Technically speaking, a slowly evolving feedback conversation is created through a live acoustic piano performance in Australia that is broadcast immediately to North America. This signal is then processed remotely, returned to the source, amplified through speakers and mixed with the existing performance in real time. Within this process, inaudible sounds of data transfer become apparent and distortion begins to erode and decay what is heard. The Internet itself leaves a unique signature.
Premiered at the Melbourne Next Wave Festival as part of the group exhibition, Can We Please Play the Internet? Curated by Rosemary Willink, featuring Janine DeFeo, Paul Zaba, Eleonora Sovrani, Andrea Buran, Nathan Liow, Angus Tarnawsky, and Ilya Milstei.