Interactive Video Art "Angels / Over Exposure" @ Let There Be Light Festival

A collaboration between Ted Coffey (concept, programming) and myself (programming), Angels / Over Exposure is an interactive video installation in which participants shine lights on projected images of the August 12th conflict in Charlottesville to reveal underlying frescoes of angels. The lights (or the participant's shadows) burn away the layers of images, ultimately creating a collectively-produced abstract collage of conflict and sanctitude.

Hosted at the 11th annual Let There Be Light, an event that celebrates the approach of the winter solstice and the longest night of the year with light-based art installations created by local and regional artists. The exhibition illuminates and transforms the darkened grounds surrounding the V. Earl Dickinson Building for one night only and is attended by over 2,500 people yearly.

"A Framework of Artistic Uses of Large-Scale Multi-Channel Audio and Video Technologies" @ Sounding Out the Space Conference

I presented a paper titled "A Framework of Artistic Uses of Large-Scale Multi-Channel Audio and Video Technologies" at the 2017 Sounding Out the Space Conference in Dublin, Ireland.

The paper explores the history of multi-channel electronic sound (ranging from the the 1940 introduction of the Fantasound multi-channel film sound format to modern high-density loudspeaker arrays) and multi-screen video (from the 1927 three-screen Polyvision format of Abel Gance's Napoleon to modern multi-channel video art installations) and presents a shared framework for analyzing these mediums that focuses on their relationships to "polyopty"/polyphony and the relationship of the audience to the physical materiality and contextual positioning of their technologies. The framework is then applied to works by electroacoustic composer Natasha Barrett and video artist Isaac Julien.

Teaching Audio-Visual Composition @ UVA

This summer course explores the ways in which sound interacts with video. Students investigate this interaction by first discussing the history of electronic sound, video, and their relationship, establishing (or refreshing) basic audio and video editing skills, and then getting hands-on experience through creative projects. Projects include composing sound design for film, creating video art (that incorporates video-recorded and/or animated materials), and designing real-time interactive media projects. The target student of this course is a musician interested in expanding their relationship to video and multimedia. No experience with audio or video technologies is required, although it is welcome.

Questions discussed include: What is sound and image? How can we manipulate sound and image using computers (and other tools)? What is the relationship between sound and image? What are the semiotics of sound and image? What are future potentials of sound and image?

Necessary Annealing performed by Yarn|Wire

Annealing is the process of applying alternating treatments of tension and relaxation to a material in order to better realize its potential. Annealing reorganizes a material from the inside out. For example, after a metal has been through a process of annealing, a process that tests and expands its material limits, it will inexplicably be more durable, flexible, and potentially useful.

Necessary Annealing uses as a jumping off point the exploration of the process of annealing musical materials. In this work musical materials are pushed to their limits of activity and stillness, ultimately revealing a hidden, embedded music at the end of the work.

Necessary Annealing was realized as part of an October 2016 residency with electroacoustic composer Natasha Barrett at the Atlantic Center for the Arts, New Smyrna Beach, FL. This work was composed for the 2017 Yarn/Wire residency at University of Virginia. 

Performed and recorded by Yarn|Wire at the end of January, 2017 as part of their residency at University of Virginia.

Flare for High-Density Loud Speaker Array at CubeFest

I was invited to be a researcher at Virginia Tech as part of their 2nd annual Spatial Music Workshop, which preceded the CubeFest, a weekend long festival dedicated to utilizing The Cube, a massively multi-channel room in Virginia Tech (139 speakers). During the week that I had to work in The Cube I composed Flare, a 7 minute electroacoustic and video art piece. Below you can listen to a B-format ambisonics recording decoded to stereo.

Here is a schematic of the speaker layout I created during the workshop:

Mach for Trumpet + Electronics

In collaboration with trumpet player and composer Sam Wells and as part of the SPLICE Institute hosted at Western Michigan University I composed Mach, for trumpet and electronics. You can listen to the piece here: 

This work makes heavy use of extended technique graphic notation, for example (from the third page):