Meditation on Form and Measure
Text-based installation with optional audience-participation (2014)
This installation aims to create an immersive and meditative sonic environment, that also allows for the potential for active visitor participation. It combines Text and sound in iterations that constantly change, while simultaneously having a repetitive quality. The primary source material consists of recordings of various text materials (poems, short plays, etc) and simple sinusoidal tones. The title of the installation is the title of one of the poems I used for source material, a poem by Charles Wright.
The selected texts were carefully chosen for their evocative nature (imagery, sound, etc). The recorded text is broken up into fragments of different durations, ranging from single words to sentences lasting up to 10 seconds. These fragments are continually shuffled and reorganized in repeating, quasi-random iterations of regular durations. The structure is organized according to implementations of rules of cellular automata, and managed by Max/MSP. The text fragments are also layered on top of sustained tones that create an undulating texture with limited variation, which serves as a sonic theatre for the text fragments to interact on. As the words and sentences mingle in unexpected and unpredictable ways, new sonic and syntactic intersections arise. The fact that the iterations are all of identical durations gives the installation a regular pulse and overall order that juxtaposes the potential internal irregularity and occasional chaos of each iteration. This regularity also lends the installation a meditative, almost hypnotic quality that allows the listeners to immerse themselves in its varying sonorities.
The installation is set up in a closed room with dim lights. The iterative and generative nature of the form permits participants to come and go as they please. The installation also has an added level of interaction that allows for listeners to engage with it by contributing their own voice. Listeners wishing to participate can draw from a stack of cards, each with a prompt on it (ex.: answer a question, think of a favourite word, read a printed line, etc), then record their voice into the computer. The recorded sound file is added to the pool of text fragments available for playback by the computer. Depending on the duration of the installation and the number of participants, these contributions have the potential to significantly change the syntactic and sonic landscape of the installation.
The audio sample below is a 2-channel reduction excerpted from a two-day setup of the installation at the SEAMUS conference at Virginia Tech University in 2015.
in a single drop...
Immersive installation (2014)
in a single drop... is a sound installation focusing on the sound of dripping water, both live and processed. The installation sets up seven bowls with water dripping into them very slowly, seven microphones to capture the sounds of the drops and seven speakers for playback. The sounds are amplified and also processed using Max/MSP. The processed sounds create a sonic memory of the real sounds, a memory that will sometimes mirror the real, and other times seem distant and distorted.
Below is of photos and videos taken during an installation of the piece during a conference at Virginia Tech University in 2016.
Please note: the photos may not be visible on the mobile version of the site
The video below provides a model rendition of the setup.
Self-regulating "organisms" that interact with, and adapt to their environment purely through sound (2010)
being becoming explores balance within an ecosystem. The installation sets up a sonic ecosystem whose inhabitants are individual, self-regulating “organisms”. Each is equipped with a small speaker, a small mic, and a circuit that links the two. Each organism emits sound into its environment via the speaker, and listens to its own sound and the sounds in its environment via the microphone. The input and output are inversely linked so that the louder the environment gets, the quieter the organism's output through the speaker is, and vice versa. This allows the organisms to self-regulate so that the environment maintains a creation equilibrium. If levels get too loud, the organisms will temporarily shut down (i.e. completely stop emitting sound), a process akin to an ecological collapse. They resume their playback once the levels in their environment are restored to equilibrium.
(media coming soon)
Audience-participation installation with found object percussion and interactive electronics (2009)
(media coming soon)
Performance installation for multiple performers using a variety of found objects (2009)
(media coming soon)
Performance installation for multiple performers using a variety of found objects (2008)
321 is an exploration of opposition and categorization. All sonic events in 321 fall into one of two categories: sustaining or non-sustaining. Given four types of material (metal, glass, wood, and skin), performers are free to choose their battery of percussion instruments. The instruments are then grouped into stations such that at each station both categories are well represented and have examples of some or all of the types. The performance itself relies on individualized scores whereby each performer plots his/her navigation between the two categories and among the four types, without specifying instruments. Each performer is encouraged to create as many scores as they wish to explore different sequential combinations, and if desired, the performers can devise a means of moving from one score to another or even from one station to another.