973 Frames for 7 C-Stands

Carpenter Center for the Visual Arts
December 6th-17th, 2015

973 frames of clear 16mm leader are woven through a maze of C-Stands and stitched into a loop. A projector then pulls this loop through the maze over and over and over again. Functioning simultaneously as a sculptural piece, a moving image installation, and a live process of visual generation, the apparatus generates a constantly evolving sequence of 973 frames. With each iteration of the loop, the microscopic deformities of each of the seven horizontal crossbars trace themselves in the laterally shifting film. The initially blank clear leader slowly fills up with swaying layers of vertical parallel lines etched onto the film by the metal while dust is also attracted to the surface through static forces. The projector, clear leader, and c-stands form an assemblage that doubly articulates the image by simultaneously inscribing it and projecting it. Rather than being viewed as unwanted degradation, the entropic artifacts of projection are re-positioned as live, dynamic forms with their own morphological properties worthy of focused attention. By transforming what might normally be considered the residue of the framing device into the framed object, this piece aims to extend the work of sonic pieces such as John Cage's 4'33" or William Basinski's Disintegration Loops.

 
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SSB[39!], Leq i.i.d.

Sun Deck (9th Floor) 9800 S. Sepulveda
October 29th-November 14th, 2015

"SSB[39!], Leq i.i.d." is a 3-channel sound installation created in collaboration with Matthew Doyle that utilizes the data generated from a network of decibel meters monitoring community noise levels around the Los Angeles International airport; as planes fly by, a live mircophone triggers bursts of white noise which travel through the rooftop space along spatial and timbral paths determined by permutations of the noise meter data. The installation aims to engage with the sensory modulations of the Anthropocene by first abstracting concrete encounters with the sonic residue of human infrastructure into virtual data, and then re-actualizing that data into a visceral bodily experience of noise. As real planes fly by, they trigger the sonification process by which the digitally measured traces of planes flying all over Los Angeles are transmuted back into audible material.

 
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shower

Carpenter Center for the Visual Arts
November 2014

A projector illuminates a shower wall, scattering light off of it and onto the body. The body reflects this light back to a camera which feeds its image to a computer. The computer places incoming frames in circular buffers, randomly moving the playback head to different locations in the circular buffers. The computer additionally processes and manipulates the image in various ways and then sends it back out to the projector and shower wall, thus closing the physical-digital feedback loop composed of projector+shower+body+camera+computer.

The bather simultaneously becomes an actor and a voyeur in the construction and experience of his/her/their virtual identity within this smallest of non-trivial networks. The intrusion of the camera into the normally individual space brings the public and private together while dividing and doubling the real into the virtual. The act of observation always modifies the behavior of the observed quantity. The bather attempts to shape their identity for the camera, though they are always ultimately losing control of their image to the digital. The computer constantly chops up, re-orders, delays and manipulates the incoming frames. The bather loses agency over their body as so many past and altered versions of that body stream by in disjointed fashion.

 
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signs

HUSEAC 33
December 2014

For 8 speakers and variable number of screens. Created in conjunction with a fixed audiovisual composition for 40 loudspeakers and 2 channel video. This piece was presented on the HYDRA 40-Loudspeaker Orchestra in John Knowles Paine Hall on December 10th, 2014. The installation and composition were both deep explorations of beat frequency phenomena through the use of fixed frequency oscillators or continuously-modulated oscillators, respectively.

The installation iteration of "signs" presented at HUSEAC 33 was created using 8 loudspeakers, 45 digital oscilloscopes, and roughly 500 sine waves.

Each speaker individually received audio from its own set of 14 sine wave oscillators. Each set would correspond to a roughly 20 Hz bandwidth fixed around a certain center frequency, e.g. 200 Hz. 6 oscillators would be spread throughout the bandwidth, e.g. at 200 Hz, 200.3 Hz, 201 Hz, 203.6 Hz, 208.7 Hz, 211 Hz, 215.3Hz. The differences between these fixed frequencies immediately generates a complex albeit static rhythm of beat frequencies through the constructive + destructive interference of the oscillators. The last 6 oscillators would be paired up with each of the first 6 oscillators, however with their frequency separated by differences on the order of .001-.009Hz, e.g. at 200.005 Hz, 200.3001, 201.003 Hz, 203.607 Hz, 208.702 Hz, 211.005 Hz, 215.309 Hz. Because the differences between these oscillators and their matches fall within .001-.009 Hz, the period of the amplitude modulation that they generate with their match would be within 100 seconds - 1000 seconds. This then has the effect of fading the matched oscillator in and out over the duration of a single period of this beat frequency cycle, which in turn means that the beat frequency relationships between the first set of oscillators is constantly evolving. As such, what was a static yet complexly pulsing rhythm generated by the first set of 6 oscillators is now a constantly evolving rhythm that never repeats due to the highly prime relationships between the different beat frequencies.

The 8 speakers then form a massively pulsating, droning "chord" through the 8 frequencies they are centered around and the pulsations at each frequency. Over time, the harmonic emphasis of the chord evolves as different speakers become more prominent based on the sorts of rhythms emerging through the interactions of the oscillators at that speaker, while others recede into the background. Furthermore, one can wander around the room to focus in on just a single speaker, or the subset-chord which a certain set of speakers might form.

Finally, the images on the screens are generated by using many digital oscilloscopes to not just faithfully represent various combinations of sine waves at their X and Y inputs forming complex lissajous patterns, but also to further mutilate those lissajous figures using capabilities of a digital oscilloscope not available in the analog domain.