Agreements 5-10 description

“Agreements (5—10)” consists of two objects (cast steel tuning forks) and six radio transmissions. Two of the radio transmissions originate with antennas in the courtyard of Ballroom Marfa, the other four are distributed at various locations around Marfa, TX, forming a sort of ring around the town so that you are never more than 1000 feet or so from a transmitter.

The transmissions, overlapping geographically and all broadcasting on the same frequency (106.1 fm), compete with one another to reach the listener who chooses to tune in. This competing interference manifests as pockets of clarity, separated by boundaries of noise and silence. Listening while moving, one can hear these borders as they are crossed, and the shift between territories can be heard as dominance rotating from one signal to another.

No two signals can hold the territory. It is a function of FM radio receivers to capture only those signals that rise above a power threshold, and to discard those signals that fall below. This filtering is useful as a means of identifying the dominant source in densely-populated areas, where it is common for multiple transmissions to occupy the same bandwidth. In the rare boundary areas where each signal carries equal power, a receiver will oscillate randomly between signals.

The tuning forks, one double-sided and the other four-sided, resonate with two and four narrowly-separated pitches, respectively. Each of these reference pitches corresponds directly to one of the six radio transmissions, serving as the basis for the musical universe contained in that signal. All sounds heard in a transmission conform to the tuning note, and its attendant harmonics, that belongs to that transmitter.

Cast as single objects that hold multiple reference pitches, the forks present the limits of sensing the whole of a group. Listening to each individual part in turn, you hold the sound of one ringing note in your memory in order to compare it to another sound. Similarly, your sense of each radio signal is interrupted as your position changes, and the relative power of all signals shift. This is not just a problem of simultaneity, or of a fixed point of view; this is a model of difference—a multiplicity of centers—that is based on inter-penetration, dominance and exclusion, not the wave-like interference of phases.

Holding one of the tuning forks in your hand, striking it or tapping it to let it ring, it is clear that each vibrating side produces a complex sympathetic resonance in each of the other sides. Holding any of the sides to mute vibrations, it is possible to alternate between a striated, harmonic sound and a smooth, pure tone. Repetition, and difference. This is unfortunately not the system of infinite combinations we had imagined, layering and blending to produce new forms from an original master. This is, luckily, the coequal and simultaneous possibility of multiple, separated centers that can interact but don’t need to. What you hear tells you where you are. Each transmission carries its own information, variations on a theme: wild variation that conforms to a system. You can move from one place to another, or you can stay still.


∆ (Delta)

“∆” (“Delta”) is the title character of a site-specific performance that took place over the course of a month in Bee Canyon Park, in the Granada Hills section of Los Angeles—across the street from the Metropolitan Water District’s largest drinking water treatment plant, and nearby to the super-leaky Aliso Canyon methane storage facility. Every day from 4—6pm, a new performer or group of performers assumed the ∆ persona anonymously.

Like a pool of water being treated—flowing in, changing state, flowing out—∆ signifies difference, a changing state, dislocation, in process and in dispute. ∆ is a mercurial messenger, a conduit, and a portal existing in multiple locations at once—present, accessible and responsive to both local and remote sites. Embodying the remote “grounding” of LA’s water and power infrastructure across vast distances, ∆ is of the landscape, a bit of sediment washed down from the San Joaquin River Delta, not a guide, but a transplant from the source.


Text-based scores inside ∆’s toolkit are composed using a specially-designed typeface. A geometric font with ornaments, the typeface mixes handmade and computer-generated shapes and curves and is not completely readable by either machines or humans.

download / view all scores as PDF


Each performer or set of performers assuming the role of ∆ made use of a “toolkit” that lived on-site—a specially-designed container made to hold scores, objects, and materials for use in daily tasks, interactions and meditations. Sculptural as well as functional within each performance, objects in the toolkit served alternately as props, costumes, and staging materials (a banner becomes a garment, becomes a blanket, becomes a shelter, for example); tools for documentation, communication, sound-making, writing, and analysis; and elements in choreographed exchanges, dances, and musical gestures.

Every day ∆ opened the toolkit to find instructions and resources for performance and engagement with visitors—ceremonial exchanges, as well as actions staged for video, photographer, or sound recorder—remote cartography (tracing boundaries and topographies), and processes of filtering, purifying, processing, and transmitting. At the end of each day, ∆ returned the contents to the toolkit where they are stored until the next day.

download / view toolkit “README” as PDF

The Spreading Ground

The Spreading Ground

The Spreading Ground (2016) was a month-long series of open rehearsals and performances at Hansen Dam, regularly scheduled practice for moving through Los Angeles as a site of transformative power and environmental hazard, commissioned by the Los Angeles Department of Cultural Affairs. This performance practice sought to connect ideals of natural beauty with precarity, and the infrastructure that holds this balance in place at inhuman, yet profoundly accessible, scales. The open rehearsal process resulted in the composition of a simple text score for movement and voice, a libretto that was painted across costumes like banners, and a collection of electronic sounds composed for a large group of bluetooth speakers. The Spreading Ground culminated in a dramatic walking meditation by a chorus of fifty performers, each performing a discrete part of the score, spread along the two-mile length of Hansen Dam with audience interspersed and constantly moving alongside.

download / view score as PDF

The Spreading Ground



warm air meets cold dove
rushing down denuded slopes

cloud burst over higher
elevation inland moving

cloud saving for summit
gullies feed canyons

Los Angeles River east
San Gabriel River west

stay between levees
city of a thousand rivers

deposit silt
soak below
flow to sea

fertile beds alluvial
sediment plain lush

hydraulic order
unruly river
smooth out uneven

uncertain rainfall
un-flowing as planned

steep slopes
small ranges
plain to pinnacle

tectonic moves
rise like himalayas

clay so soft
forms to hands

chapparal blazes
flames regenerate

foothill flip bucket
predict the slide

flood flow
channel volume
levee strength

forbidden territory
freeway overpasses

return sycamore
return oak
return cottonwood

riparian civil disobedience
mental maps of southern california

no signs of life
sun high in the sky

raindrops vary
places rain does not reach

rage with flood
dry in the sun

oranges, acorns, currants
blackberries, gillyflower, jessamine, tuberose

water privilege
riparian rights

mountains riding clouds
mountains walking on water

mountains walking like humans
forward backward on water

no original water
no common water

water commons
matrix of water

underground river
subterranean streams
flowing in channels

beneath the river bed
underground water

ditch drag thicket
channel concrete

downslope impermeable
layer gathering

hillside saturate glob
too dry to flow

detritus cones
inundation zone

concrete articulation
river future

improve water quality
enhance riparian

industrial whiff ripping
stately heron

water trickle
earthen low-flow

persuade the public
the river exists

brutal trip
pioneer drag
western settlement

abundance of water
from elsewhere
not here

chalky river relocated
snake of water

artesian well driller
ditch tender

save your head from water
save your head from fire

water underground
spreading ground

rainfall to fill
sandy bed
capricious cloud

B (shared):

Flood Control
Spill Away
Flows Within Boundaries
Spreading Ground

C (shared):


Unanswered Question

unanswered question at mountain school of art


you hear that?
whistling sound?
shall we tell them about it?
how many are you?
who is responsible?
who owns the air?
does capitalism erode all pleasure?
yes or no?
what does pleasure erode?
who is this person?
and who is this person?
and who is this person?

sun image
dark object
cease to exist

which is better
vision in motion
or discovering the subconscious ?

let’s back up.
did you see the beach?
did you know there are two species of wildflower that live on antarctica?
how quietly can you speak?
show me?
how far can you see?
questions for women?
yes or no?

image of the sun pendulum

observe the sky?

what is changing?
glacier in retreat or water in advance?
uncertainty or pattern?
(what is) the most beautiful word?
what are some variations?
can you be more specific?
Would you prefer not to?
ask me?

the possible
functions of machines?

inventing things
that can only be made
with tools that don’t exist?

are you an inventor?
have you met?
and have you met?
and have you met?

let’s back up.
what happened earlier?
do you agree?
how many agree?
how many disagree?
is this a good balance?

Actual Reality

Actual Reality

“Actual Reality” (2011—Present) is a serial multi-media work that develops over the course of many iterations and forms: a scored performance, an improvised response, a piece of software, a libretto text, audio recordings, a video-in-progress… Each new version processes and re-synthesizes previous Actual Realities.

I’ve had a google alert for the words “actual reality” for several years now, every day receiving an email digest of newly discovered instances of the phrase in context. It is a candid and democratic view of the internet. The term is used by diarists, pundits, analysts, self-help gurus and angry blog-commenters alike, as a lets-get-serious reference to the common background against which imaginary things come together momentarily. Everyone should be able to recognize actual reality, or to compare things against it, to measure when we’ve moved too far from it.

“Little by little it comes into view like a condensing cloud; from the virtual state it passes into the actual; and as its outlines become more distinct and its surface takes on color, it tends to imitate perception. But it remains attached to the past by its deepest roots, and if, when once realized, it did not retain something of its original virtuality, if, being a present state, it were not something which stands out distinct from the present, we should never know it for a memory.”

– Henri Bergson “Matter and Memory”

We experience sound moving from live utterance to processed signal, amplified and diffused into the room. We enact a translation, listening and responding to the processed signal, attaching new layers to it, simultaneously forging and following a wave of sound that condenses into patterns and disperses into clouds. Video images form for us an anchor in time, progressing slowly, with action that is hard to perceive until gradual changes are made apparent. A flute, a lily, a newspaper, a triangle, a mirror, a discharge of smoke—-these visual elements provide a medium through which to perceive a specific speed, a dilated scale of time passing.

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Actual Reality – The Sun Artist Takes a Walk

“The Sun Artist Takes a Walk” (2014-15) is a version of “Actual Reality” that borrows its shape from a series of workshops conducted by San Francisco-based artist, scientist, and educator Bob Miller. Beginning in 1975, Miller’s “Light Walks” led small groups of participants in the active noticing of sunlight resolving into images through naturally-occurring pinholes, shadows, and reflections.

“…what I used to think of as uninteresting diffuse white light turns out to be pretty damned interesting. If you think of every little area in space containing, in the light, all the information for a full-color, completely detailed image of things both nearby and far away—here in this little area of space, and here… and here—then it seems to me that we’re walking around all the time in an invisible sea of images. All you have to do to see one of them is to put your eye right “here” and let in one of those little specks of light. And on top of all that, you see it “out there,” projected on the real world. Wow!”

“Actual Reality” proposes, then, that all streams contain images. To play, and to pay attention, is to resolve these images, seeing them for a moment as reality.

Make a Baby

Make a Baby

“Make a Baby” (2004 – Present) is a synthesizer played by two or more people touching one another on the skin.

Make a Baby

“Make A Baby” can be described in its simplest form as sounds being played by touching one another on the skin. The functional structure of the piece has crystallized, more-or-less, over many hundreds of performances: control signals (tuned circuits) at very low voltage are picked up on the skin by audience members, who share the signal between one-another by transferring across points of skin contact. Different kinds of touch (gentle, forceful, sustained, momentary, etc) produce different results. Adding or bridging between additional participants also produces a change in the overall response. We have, through trial and error, developed a tuning system that is inherent to the piece, allowing it to function as a standalone musical instrument with a voice of its own.

How it is implemented—the social structure of the thing—is more slippery, highly contingent on context and audience participation. Our intention, and our measure of quality when comparing one version of “Make A Baby” to another, is to sustain a social space that has no fixed center, and yet forms a cohesive, purposeful sense of belonging to a group engaged in common action. From this essential balance, we can extract other criteria for success: each individual gesture should be perceptible within the group effort (a sense of transparency and agency); the boundaries of the group should be highly permeable—participants can easily shift from active (playing) to passive (listening or watching) engagement; the actions required for participation should be easily taught on a peer-to-peer level. Overall, there should be a sense of continuous playfulness that invites cooperation and innovation.

To these ends, the supporting technology provides unexpected possibilities for distributed control—every point of contact between participants generates some perceptible and significant change in the sound. The software component, with an architecture similar to that of a scalar network analyzer, learns about the structure and quality of connections between distributed nodes. As each signal, carrying a signature frequency, is passed between players, momentary networks are built and dissolved. The forms of these networks, when translated into sound, provide a shifting map of our engagement, the inter-penetrating sum of our individual actions.

Although the two primary modes in which one interacts with this piece are listening and touching, it is easy to describe the experience visually—the shapes made by a group of people finding points to connect across a room, a physical network of hands and arms, attention divided between so many simultaneous points of action. There is a vibrant relationship between the centers (every point of contact that seizes control for an instance) and the margins (frontiers and boundaries, a perimeter with global perspective). In terms laid out by Pauline Oliveros, it is experienced through “focal attention” (points of contact), and “global attention” (the result of all points of touch together). Does this vibrant oscillation, this quick mobility between individual and collective engagement, bring with it a certain awareness? At the very least, there is evidence of the possibility for communicating amongst ourselves directly, supplementally, the complex and ineffable experience of being an individual within a group.

17,000 Observations

17000 observations

“17,000 Observations” (2014) is a musical composition and sculptural installation developed specifically for the floodplain forest at Laguna Gloria, in Austin Texas. A mobile made up of circular mirrors is suspended between trees across a footpath, reflecting the forest in unpredictable ways, aiding and complicating each viewer’s line of sight. Field recordings made on-site over a 24-hour period form the basis of the musical composition: the songs and calls of migratory birds overlap, modulate, and give way to one another in sequence. Each audience member determines their own path through the performance, following the forest’s natural trails to collect fragments of call-and-response from an instrumental ensemble dispersed throughout the floodplain. “17,000 Observations” is an attempt to respond to—and reinforce—the sequences and transitions that accumulate to define a natural site, from all around, with no center.

‘[…] Laguna Gloria has one of the most active birding communities and one of the highest levels of species diversity in Travis County. Birders have submitted over 17,000 observations of birds in the Laguna Gloria and Mayfield Park area. 16,443 of those observations were at Laguna Gloria. Each observation represents the sighting of a particular species at a particular place and time.’ (Laguna Gloria: SIte Assessment and Natural Areas Guidelines Siglo Group, June 2013)
The Anti-Explainers

The Anti-Explainers

“The Anti-Explainers” (2012-2015) is a collection of experiments and interventions performed while in residence at the Exploratorium’s Center for Art and Inquiry in San Francisco, including the public artwork “DAYLAY” (2013-2014), an interactive audio installation on The Embarcadero that captured sounds to be played back after a twelve-hour delay.

The Exploratorium’s “Explainers” program has been an integral part of the museum’s identity from the start – a core group of young people with a diverse range of interests and backgrounds who interact with visitors, perform demonstrations, and act as role models within a process of open inquiry. Neither audience nor institution, Explainers build understanding through practice, trying things out to see what is possible. Do artists build understanding in the same way, by learning in public? Perhaps the order of operations is reversed – artists may dismantle understanding, problematizing and expanding the limits placed on knowledge. There are many “ifs”. For now, let’s consider artists as the Anti-Explainers, a corollary, and a necessary response, to the Explainers.

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anti-explainers book

anti-explainersView / Download as PDF
(1.7 MB)

“The Anti-Explainers” (2015, 204 pages) documents research done in residence at the Exploratorium’s Center for Art and Inquiry from 2012 to 2015. Examining the role artists can play in complicating, augmenting, or responding to explanation, the book collects exhibits from the museum floor that exist outside of explanation, along with documentation of artworks produced in response to the desire – both public and institutional – to engage in a process of explanation. The centerpiece of the book is an entire week of transcriptions from Lucky Dragons’ installation “DAYLAY” (2013-2014), in which visitors were invited to leave messages to be played back after a twelve-hour delay.

The Anti-Explainers



“DAYLAY” (2013—2014)

Produced under the auspices of both the Exploratorium’s Outdoor Gallery and Center for Art and Inquiry, as an interactive exhibit situated within a fourteen-foot diameter circular hole in the publicly-accesible area of Pier 15, directly adjacent to The Embarcadero. Two signs, each with an identical explanatory text and microphone, were placed along a railing that circled the hole. Four speakers and a ring of LED lights were suspended out of sight beneath the rim of the hole. The lights faded up as the sun set, and faded down as the sun rose—“photic memory, ” as a staff scientist commented. The microphones continued to record, and the speakers to play back, more or less uninterrupted for eighteen months, from May 2013 to November 2014.

The exhibit was designed to perpetually record sounds and then play them back in the same location after a twelve-hour interval, all sounds being subject to the same delay without discrimination: seagulls, trolley cars, skateboarders, church bells, school groups, office workers, tourists, families, lovers, foghorns, delivery trucks, queries, fantasies, confessions, wind, rain, screaming children; the audibly prurient thoughts that occupy people of all ages speaking into the void. Our intent was to produce two irreconcileable results: on the one hand, to render a realistic portrait of the natural and social sounds of one time overlaid onto another time (a sort of factual window for listening through to a different time at the same location), and on the other hand, to invite visitors to contemplate and engage with their own imaginary experience of this other time—to actively touch the other (as yet non-existent) time. Our project here is to examine the feedback loop produced by these twin results, not by categorizing, but by presenting their complexity verbatim.

Is the relevant learning experience to be found in focused attention on sound (both as a material and a signifying medium)? Is the exhibit’s primary purpose to play back / to present for the listener, or to offer, in the process of time-shifting, a platform for experimental performance? We propose that a relevant learning experience can be found in the creation, by speakers and listeners alike, of a common imaginary, a virtual space for contemplation external to our lived experience. I wonder where my voice went (what does it do for twelve hours?). I consider the qualities of a moment lost inside a vast duration. I switch places with the listener, bringing a message backwards from the future into the past. Why not?

Taken as a continuous document, the recorded messages present a rapid and unpredictable montage of emotional forms. Some speakers invoke complex and playful narratives consisting of interactions between multiple characters, story-lines, and time-space locations. Other speakers laugh or curse when nothing is obviously funny or upsetting, leaving an embarrassed phantom shocked at its own creepiness; uncanny for being a recording, and irresponsible for being delayed.

Why speak, if the audience can’t be verified? Paranoia interrupts, the un-knowable listener is cast as “inhuman,” albeit an inhuman that we share space with and can communicate with: “Nobody” will be there / “Nobody” was here—or “Whoever is here, I hate you,” “I will kill you,” “I hope you die,” and so on. Often this takes gentler forms, as interspecies communication (whale song, “Sharks come out!”, “Hello, fishies!” etc.), or command utterances seeking a cure for disarray: “Go to work!”, “Go Home!”, “Get a job!”, “Go to sleep!”, “I hope to be at home safe.” For a group encountering the piece all at once, the mania of showing off, along with a tendency towards imitation, results in funny looping stutters, as variations on the roles of teacher, student, reporter, monster, victim, etc. are worked out.

How do we rationally understand a time scale or duration outside of what we are able to sense? Every interaction is also a test of the channel’s openness, a question uselessly waiting for an answer to travel across an interval that, while not impossible, is improbable for anyone finding themselves at the installation site to directly experience. Leaving a message as a ‘proof’ or ‘truth’ of a proposition that is un-testable (un-thinkable?) in the present moment engages a need very close to our own desire to collect and convey these messages, first through the mechanism itself, and now through these eavesdropped transcriptions. In the act of composing messages for future listeners, each speaker has given a unique form to the sensation of holding one’s attention in two times at once. As artists-in-residence transiently interacting with communities of practice, our research is presented beside the work of explanation and inquiry carried out by visitors and staff every day. In the usage described by Eve Kosofsky Sedgwick: “Beside comprises a wide range of desiring, identifying, representing, repelling, paralleling, differentiating, rivaling, leaning, twisting, mimicking, withdrawing, attracting, aggressing, warping, and other relations.” As artistic research, this project is not to essentialize, nor to act as role-model or interrogator, but primarily to listen, and to provide forms that are able to preserve contradiction.

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Wrong Spectrum

wrong spectrum

“Wrong Spectrum” (2008-Present) is a performance centered on the idea of overlapping and inter-related spectra: rocks collected at the performance site, or reflective materials placed in a beam of light, are used by audience members as instruments to interact with electrical fields, affecting changes in sound and light through the coordinated movement of participants’ bodies. From this basis in slippery interactive effects, the project’s scope expanded to explore the phenomenon of edge-color spectra, in which incremental variations in viewing conditions produce a range of spectral effects.

wrong spectrum book

coverView / Download as PDF
(1.8 MB)

“Wrong Spectrum” (2015, 68 pages, color) collects film tests, poetry, texts and collected images that grew out of a research residency at The Exploratorium’s Center for Art and Inquiry. The primary focus is a re-performance of Goethe’s investigations of “edge-color” phenomena. Intended to make a point about the direct relationship between variable conditions and variable outcomes, Goethe’s experiments viewed simple test patterns under a range of environmental conditions, detailing the process by which color perception emerges from the natural world and dislodging the notion of a perceptual “fact” in favor of a spectrum of subjective possibilities.
A Wave That Interferes

a wave that interferes

For “A Wave That Interferes” (2011—Present) two transparencies with simple black and white patterns are moved by hand to create visual interference – a moire effect – that is translated into sound as the changing shape of a waveform. As the visual pattern becomes more complex (diamond patterns emerge), harmonics are added, and the soundwave becomes a square. As the visual pattern becomes simpler (separates into lines), harmonics are subtracted, and the soundwave becomes a triangle.


Speak Your Own Language (2015)

“Speak Your Own Language” (2015)

Released as a 7” record by Harmonipan in connection with the project “Variety Gate” at Museo Universitario del Chopo in Mexico City, “Speak Your Own Language (2015)” is part of Lucky Dragons’ ongoing research into an auditory illusion in which short fragments of speech, when repeated, can appear as entire words and sentences—something like an audio rorschach test. Spoken syllables, sequenced and filtered into layered rhythms and harmonic textures, occupy an area between music and language that each listener hears differently. For the record’s cover artwork, five listeners were asked to write down any words or phrases that they heard, composing lyrics to the music.

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publicity reform

“Publicity Reform” (2013)

wow mix

“Wow Mix” (2013)

Speak Your Own Language (2012)

“Speak Your Own Language” (2012)

Recordings of a home-made string instrument with a central bridge (you might call it a “zither”). the design of this instrument, which is played by two players plucking / strumming / striking the strings on opposite sides of the bridge, is such that the actions of a player on one side of the strings effects the tone of the strings played by the other player. as one side of a string vibrates, bends, becomes tight or relaxed, the pitch of the opposite side responds in a mirror-like fashion. harmonies float around, not fixed in place, but come back to rest in a rough middle. the digital version (what you hear here) has undergone an additional process: automated noise-reduction software attempts to discern a “signal” from the background sound of the original recordings, listening for its own version of music ;)

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Relax in a Hurry

“Relax in a Hurry” (2012)

by speeding up music made explicitly for the purpose of attaining a relaxed physical and mental state, can a listener reach such a state in less time? is there something essential in the material of these sounds, divine frequencies, that if experienced not as a tone, but as an impulse, can provide a shortcut to well-being for the busy listener? how fast can we listen?

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“Existers” (2012)

Plural titles indicate the proliferation of life. In all its disparate values and manifestations, life multiplies.

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Long Form

“Long Form” (2012)

Spectral information organised into simple harmonic shapes, an agreement of frequencies that extends above and below the range of audible perception. As any shape stretched towards an infinite length becomes a line, this is a flattening of form – music made as simple as possible.

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Music For No Reason

“Music For No Reason” (2012)

Shape Tape

“Shape Tape” (2011)

Rara Speaks

“Rara Speaks” (2010)

The Upward Spiral

“The Upward Spiral” (2010)

Optical illusions have a healthy life in the world – as puzzles, cognitive experiments, quiz tricks, and platforms for mind-bending artworks – but auditory illusions (tricks of the ear) are less well documented, less well understood. Two examples of auditory illusions that were discovered relatively long ago – Risset rhythms and Shepard tones – deal with tones or looping cycles that appear to constantly accelerate, or rise in pitch – the sonic equivalent of a barber pole stripe, moving always upwards as it rotates (the opposite effect, a pitch continuously descending or a rhythm forever slowing down, also qualify). Examples of these illusions privilege the smooth, consistent rise: seamless and eternal. But what about the lumpy, striped or stepped rise, hopscotching or leapfrogging forward? Isn’t there something salient and familiar about a clumsy version of vertigo?

Accelerationism proposes an end-game scenario for capitalism that either transcends the currently visible horizon, entering some unforeseen landscape (free from constraint), or results in technological singularity – in either case, eternal acceleration suggests an azimuth, a state of motion so extreme that it provokes an ontological shift. These sounds play with the auditory illusion of continuous acceleration with a particular focus on the clumsy, spontaneous, and sporadic leaps that reflect our own engagement with progress – two steps forward one step back – we digest the shapes of boundaries, constraints, and borders attempting to guide us into smooth channels, as we blindly expand forever in wild directions.

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Dream Island Laughing Language

“Dream Island Laughing Language” (2008)

Bleach on Bleach

“Bleach on Bleach” (2007)

Mini Dream Island

“Mini Dream Island” (2007)


“Widows” (2007)

A Sewing Circle

“A Sewing Circle” (2005)


“Norteñas” (2004)

Hawks And Sparrows

“Hawks and Sparrows” (2003) is a collection of reconstructions, rearrangements, and reenactments drawn from field recordings of four anti-war demonstrations (Seattle, New York, Philadelphia, and Washington DC) protesting the US invasion of Iraq in late winter 2003.

Washington DC January 21st 2003 On the bus down I was sitting with a group of Iraqi women who fed me Baby Ruth bars and Almond Joys. I met my mother on the steps of the Supreme Court and spent the day separating from her and meeting up again, getting lost in the crowd. We walked along the march route for a long time, but split off to visit a farmers’ market in a neighborhood she had heard of but had never visited.

Seattle February 15th 2003 I got a ride up with my friends Brian and Morgan on Saturday. We bumped into a number of people from our school as we marched through the city. When the monorail passed over, the drivers honked in support. After the protest ended, we went to an enormous Asian supermarket for lunch.

New York City February 15th 2003 Becca was set to meet me by the downtown lion at the main branch of the public library, but I had to fight my way to get to it, there were so many people. Everyone was making a ruckus of some sort. This lady stood out, she was making a different sort of ruckus into her cell phone. The obscenities pouring out of this lady’s mouth were a bit more exaggerated than the protest banter. She had agreed to meet her friend at the downtown lion as well, but her friend was at the uptown lion. This lady could not walk 30 feet to resolve the miscommunication. Instead she had to chastise and humiliate her friend over the cell phone, let her know how angry she was, let everyone around her know as well. Cops stole my drumsticks and I had to use spoons which I bought from a hardware store. someone threw fireworks at a horsie cop. Then I met up with becca, she had been less than 10 feet away from me the entire time!

Philadelphia March 30th 2003 It was very cold and raining off and on. Peter and I walked all the way from our house down to where we thought the protest was, several miles away, but the place was empty. We met a girl who thought maybe people had moved to the federal building so we walked there. We were the first ones there, but after a short while the marchers showed up and we joined them.

A crime was carried out in our name. we spoke out against it. How will time change our memory of this? Memory is our weapon. All sound sources used in the making of this cd were recorded at the protests listed above. Spoken language, rhetoric, dogma, incantations, and chants have been removed, leaving behind music, pauses, affect. No synthesizers were used on this recording.

“Hawks and Sparrows” includes contributions by Wrist + Pistols and Big A Little a. Released April 4th, 2003 as a free unlimited download and a limited edition of 100 cd-rs packaged individually with the first flowers of spring in clear glass cases, distributed by reverse shoplifting, filed under “h” in any record store.

This work is in the public domain.

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Dark Falcon

“Dark Falcon” (2002)