As modern culture progresses the truth of jungle and its meaning remains subliminally manifested in our existence. We see trees, greenery, streams, and savage humans aiming to stay on top of the food chain, but we have transitioned away from any direct understanding of the word that connects it all.

My short film A Foreign Jungle aims to establish a link between images of the modern urban landscape and a creative re-imagining of the jungle as a wild space. The work will focus on mental questions that determine our existence such as why are we here, how did we get to this point, and where are we going.

A Foreign Jungle will demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction through the lens of modern life. It challenges our perception we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By exploring the concept of landscape in a creative way, this work will provide a deeper look into the everyday jungle, leaving the viewer with a feeling of enlightened confusion that gesture toward poetic meanings in everyday life.

Molecular Machine Music is a meditation on feedback, generative synthesis, cybernetic systems, and rock and roll. The work is indebted to Lou Reed’s Metal Machine Music and Yasunao Tone’s Molecular Music, and is thus named after both.

Molecular Machine Music adapts several techniques from generative synthesis, which, relative to music and art, is a system that has been designed to operate autonomously during a performance without human input. In this respect, Molecular Machine Music is not entirely generative, as it will not perform to its fullest potential without an audience. Nevertheless, parts of the system operate autonomously.

Like the mythical Ouroboros, this cybernetic audiovisual system is a self-perpetuating feedback loop. A guitar placed in front of an amplifier responds to the sound waves emanating forth, vibrating its strings. Those vibrations are transduced into electrical energy and sent to the amplifier to be output as sound waves, which are picked up again and fed back to the input ad infinitum. A computer analyzes frequency and amplitude shifts in audio and outputs a visual interpretation, and the dynamic shifts in light from the video projection are transduced into voltages that control modular processors in the audio signal. When the computer senses the presence of an observer, it adjusts its output to reflect the change in ambiance. The result is an interactive, generative performance by the fundamental tools of rock and roll that “play the room.”

This installation is dedicated to the memory of Dr. Martin Jack Rosenblum.

Fragmented Self is an interactive installation that allows viewers to navigate the artist’s portrait, shown as a projected grid of sixteen videos containing cropped portions of the artist’s face. Walking forward and backward, shifting side-to-side, and running across the space, individuals cause the artist’s portrait to contort as a computer voice reads a selection of the artist’s tweets. Mobile technologies and social media like Twitter allow individuals to know what their friends and acquaintances are doing and thinking at all times but often in shallow, fragmented updates like quick snapshots or 140-character postings. In Fragmented Self, viewer-participants manipulate, uncover, and learn more about the artist – one digital fragment at a time.

Michael Brown, an unarmed black teenager, was shot and killed on Aug. 9, 2014, by Darren Wilson, a white police officer, in Ferguson, Mo., a suburb of St. Louis. The shooting prompted protests that roiled the area for weeks. On Nov. 24, the St. Louis County prosecutor announced that a grand jury decided not to indict Mr. Wilson. The announcement set off another wave of protests.

In Ferguson (Oculesics), the intention is to capture the essence of this wave of emotional and racial divide that affected not only Ferguson at the time of the verdict but also the entire country and beyond. Additionally, the goal in this exhibition is to prompt the audience to make a face-to-face connection, through eye tracking, physical interaction and movement with officer Wilson. Finally and overall, to perpetuate an understanding of how we as a society have the ability to control, mitigate and propagate massive interruption and disturbance through our collective energy, consciousness and actions.

Figural Pixel Prints is a program that creates digital paintings through the use of body movements and objects. All the paintings are saved and then printed out and turned into an artist book.

With streaming becoming a growing trend amongst gamers, more and more players are broadcasting their games for the world to see. Based off of Petra Cortright’s VVEMCAM, I decided to give the viewers of the stream a better sense of interaction, by adding GIFs that can be queue’d up from the stream’s chat room.

My conceived memories of early childhood are vastly different from those captured on video. Through the process of aging, my psyche has distorted and deleted many of my earliest memories. As I enter a dream state, I invite you to explore my conscious: recollecting memories and manipulating the void between my mind and the tangible reality of video.

Reforming the idea about yourself and letting go of those cynical thoughts that weigh down the mind and body. But, by acknowledging those damaging thoughts the mind and body can then start to warp and slowly change them until they are no longer recognizable. Until at the end where the negative is so far gone the positive out shines it

mA is a sound and video installation that draws from the glitch and noise sub genres. The visuals are produced by the “glitching” of an input video, while using the image’s positional and luminosity information within a digital matrix. The sounds are synthesized by the how the image’s light data is routed through the computer’s internal digital to analog conversion (DAC) process.

The visuals presented here, are a composite of prerecorded material and a glitch aesthetic- that allows for larger geometric shapes within the matrix. This process of glitching also stresses the culturally ubiquitous practice of “code hacking” – the remixing of multiple codes and programs to export data in a way that might exceed the original composer’s intention. Code hacking also serves as an editing process that translates file codecs by manipulating their digital information to a desired effect.

All of this is dependent on a Minimalist approach to stripping artworks of visual non essentials. This relates through the way the abstract mathematical “objects” of the code can react with pure data- luma and time values- to visually represent the rule structures of the code. This is not quite a new concept as this idea lends itself to the practices of stochastic and algorithmic composition- the creation of rule sets and parameters in order to make decisions in the compositional process.