Quinta, 2011. Video loop with original music written and recorded by the artist. 3 min 45 sec, dimensions variable.
Original music is manually mapped into three dimensional space using excel, maya, and lots of patience. The x-axis represents the western 12 note semitone series, the y-axis represents time in seconds, and the z-axis represents frequency range in Hz. 9 instruments, 9 colors, 9 shapes extruded over time to bear no resemblance to their earliest state. The video is a first step in building a synesthetic understanding of sound and space. The next step is the construction of the completed sonic-architectural form in real space. Using this technique, every day sounds can be translated into form. Objects could even be reverse engineered into their sonic analogue—see Triad of Triads for a prototypical example.
The Roots of a Causal Cone, 2012-ongoing. Commissioned by Heartland Payment Systems for HPS lobby in Jeffersonville IN. Fiberglass, steel, nylon, custom electronics and programming, programmable LEDs, relays for magnetic card readers, 30' x 20' x 30'.
This 3D animation briefly illustrates the sculpture's development: tracking the motion of HPS employees, lofting their motion into trails, and finally, arranging the combined trails. The interactive aspects of the work show how individual door-access card swipes trigger cascades of light along the motion trails. These six interlacing trails are composites of movement from six quadrants of the building. And for each quadrant, there is an LED-activated card reader. So, for example, when someone swipes a card in quadrant 1, he triggers light to travel along the recorded motion trails from quadrant 1. The overall effect of the piece is to make visible the intertwined vitality of a community by generating a visible pulse of the building in a dance through the organically formed yet architecturally guided roots. At 9am, a surge; at 2pm, a drip and a lull; 7pm, sleep.
Triad of Triads, 2011. Aqua resin, epoxy clay, 32 infrared sensors, 32 hacked greeting card sound modules, 32 speakers, custom circuity, wood, steel, dixie cups, and amp mesh, 24” x 24” x 50”.
This work exists simultaneously as instrument and sculpture and can be played by hovering one's hand over or by touching a sensor(s). The form is derived from a musical triad shape (three note shapes resounding at once) which emerge in the video Quinta. As a virtual object, it is composed of several thousand vertices (points with three spatial values--x, y, and z) from which I select 32. I then build the object in real space and plot 32 sensors to match the location of the 32 vertices. Using custom programming I convert the spatial values of each chosen point into their direct musical analogues. In effect, each sensor triggers the precise sound of the space it occupies in relation to the others. With each sensor triggering the sound of their space, this piece becomes a synesthetic experience melding sound, space, and touch.
Goldmund, 2011. Interactive sound and video installation with custom sensor, electronics and programming, video projector, wood, leds and glass, dimensions variable.
From 12th century Old English, "mund" refers to an outflow from the 'mouth of the world'; in our case, an outflow of gold. Born out of the death of the dying star, this element is a token of purest alchemy.
The source material for the video elements come from images of solar flares taken by the SOHO satellite as it orbits the sun. The original audio footage was taken from the recorded sounds of selfsame solar flares, these amber tongues, as they lick the magnetosphere of the earth.
This work swings between two different modes, idle and interactive. During idle, the sound (an overtone series based on aforementioned audio source) controls the motion and oscillation of the video elements. During interactive mode, your heartbeat is detected by the sensor. It's sounds are resampled live and control the shape and motion of the object in the video.