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