The Deluxe Vectorscope is a sound visualizer developed in Processing which expands on a familiar tool found in almost any mixing studio, the vectorscope (or goniometer), which displays in 2-dimensional space the relationship (correlation) between 2 signals, typically left and right channels in a stereo mix. Here, rather than being used to indicate mono compatibility (whether or not a stereo track has enough correlation between its two channels so that they may be summed to create a mono mix) the Deluxe Vectorscope may be used to generate real-time video or stills of a sound input, with many different visualization customization options.
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.
Collaboration with percussionist Fernando Rocha and instrument builder Peter Bussigel. Video is projected onto the front of the instrument that responds to the sounds of gestures, extending the instrument to be a self-contained micro light show.
Collaboration between poet Caitlin Neely and myself as part of a larger collaborative performance between the Composition & Computer Technologies and Creative Writing programs at University of Virginia in April 2015.
Poem first appeared in Devil's Lake (english.wisc.edu/devilslake/index.html).
aft. L.B.-B. for E.D.
I keep my darkness. Rush of fence;
rain all day, but leaving. No
conversation. The valleys fold.
When are you coming? Hi, midnight,
hi, farmland. The afternoon like snow.
The landscape: take this off, take that—
all at once hands in the trees,
the face I've been wanting so long.
Call it swallow, call it longing,
call it wood-song. Some life
will crystalize; twig-soaked
in salt mine, plankton luminescing sea:
a beekeeper headlong in comb-husk,
torso halfway into chasm, honey gorge.
You shy in a picture: hair down,
legs crossed, light along the edges.
I visited you once, your hollow
in the ground; it was a temple,
mouth, holy, river blur. Open carefully,
descend me. Beyond the field,
beyond the circumference—
dawn-hushed. Anatomy: waterlogged,
everything spilling, my arms
full of bone and dust. Soil draped
over my mouth saying, listen now.
Notes: The line “take this off, take that—” is from the poem “You Can Thank Me Later” from Mary Ann Samyn's My Life in Heaven. The phrase “river blur” is from the poem “At the River Unshin's Edge,” and the eighth line was inspired by the poem “When the Gods Go, Half-Gods Arrive,” both from Lucie Brock-Broido's The Master Letters.
An afterimage is an image that continues to appear in one's vision after the exposure to the original image has ceased. This piece massages and amplifies this physiological phenomenon through video editing and musical accompaniment.
Also presented as part of an installation <documentation to follow>.
This video triptych explores 3 shapes: ring, axle (line), and gear, accompanied by sound design encompassing a wide range of synthesized and real world sounds, investigating aesthetic implications of the fetishization of icons and symbols.
Published by the International Computer Music Association, 2015 DVD.
Commissioned for a March 12th, 2011 performance of Kati Agócs's "Hymn" by the AM/PM Saxophone Quartet at the Red Room in Baltimore, MD.
Music by Kati Agócs, performance by the PRISM Quartet, video © 2011 by Eli Stine.