With Oui (2015) is a deeply collaborative and interactive multimedia work for six dancers, suspended motion sensor, and live audio/video processing. The various components of the work aim to convey a narrative of discovery, human communication, and mutually supportive relationships. Several computers are wirelessly networked in order to exchange data via OSC, establishing a live performance environment in which audio can freely manipulate visual elements, and vice-versa.
Sound: Eli Fieldsteel
Video: Rodrigo Carvalho
Choreography: Ladonna Matchett, Billie Rose Secular
Dancers: Gianina Casale, Nick Kao, Zach Khoo, Sam Olayiwola, Kelsey Oliver, and D’Lonte Lawson
The following video excerpt was recorded during the 2011 Music in Architecture – Architecture in Music Symposium at The University of Texas at Austin. I collaborated with German architects/designers Florian Tuerke and Rene Rissland on a site-specific, live-performance installation designed for the Bass Concert Hall Lobby, entitled hEAR TOuch Listen. The installation consisted of eight physical feedback loops via subwoofers and contact microphones affixed to eight different metal handrails throughout the space.The natural frequencies of each segment of handrail were measured and reinforced through digital signal processing. The installation took first prize at the symposium.
Genetic Anomalies (2014) is an interactive multimedia composition for two dancers. Data from concealed motion sensors is distributed wirelessly among a network of computers via OSC, generating real-time audio and video. A tablet computer running TouchOSC enables remote control of global parameters.
Sound: Eli Fieldsteel
Video: Eli Fieldsteel and Jeff Kurihara
Lighting: Andrew Carson
Choreography: Mackenzie Taylor
Dancers: Ladonna Matchett, Billie Rose Secular
The Box, an immersive 12-foot multimedia cube installation, was created in collaboration with lighting and media designer Kate Leahy in spring of 2012. The installation was divided into three movements, Red, Blue and Green, which ran indefinitely on a thirty measure loop for several days in the Oscar Brockett Theatre at The University of Texas at Austin. The following video excerpt, (Green), was projected onto the floor of the cube, with synchronized LED and incandescent lighting along the inner sides of the cube.
More documentation of The Box can be found here.
Fractus III: Aerophoneme is a composition for flute and interactive quadraphonic sound, commissioned by flutist Kenzie Slottow (featured in the videos below), touching on themes of self-exploration, transcendence, and divine retribution. The piece gradually builds to a breaking point, reinforced by the spatial transition from front-stereo to surround-quadraphonic. Fractus III has been presented by numerous performers, including the principal flutist of the Aarhus Symphony Orchestra, Lena Kildahl.
Fractus IV: Bonesaw, for trombone and interactive quadraphonic sound, was commissioned by ASCAP/SEAMUS in 2012, and premiered at the 2013 SEAMUS Conference in St. Paul MN, with Steve Parker performing. Controlled randomness pervades this work, and each performance is sonically unique. Numerous parameters are subject to chance procedures throughout, but by design, the piece retains its overall shape from performance to performance. Fractus IV, along with other pieces in this series, aims to provide practical solutions to issues of human-computer synchronization, establish a flexible dialogue between the performer and the electronics, and showcase the musician’s talent.
In October of 2013, I was hired as a freelance sound designer for the Miami Heat. I provided sound effects and mastering for a video mapping show, premiered during the Ring Ceremony at the Heat’s opening game on October 29th. Here is an excerpt from the show, as broadcast on the TNT network:
Perform.sc is a SuperCollider class file which functions as a performance “shell,” capable of performing an arbitrary piece of live or fixed electroacoustic music. Perform.sc reads external code files which contain data for instrument definitions, sound generation, event sequencing, and rehearsal cues. Using these external data files, Perform.sc provides graphical user interface suitable for live performance or rehearsal. Perform.sc has the ability to detect and learn external MIDI input, mix and balance multiple audio streams, map input and output sources, and save/load performance session data. Perform.sc is used to perform all of the live electroacoustic compositions in my Fractus series, but has also been used successfully to perform other pieces of music, including Steve Reich’s Violin Phase.
I maintain a series of web-based SuperCollider tutorials, oriented toward beginners. The series has received tremendously positive feedback, both online and from professional colleagues. The following three tutorials are excerpted here to provide examples of my teaching style, pacing, and technical proficiency.