Band band is a wooden frame housing a band saw blade fitted with a transducer on it. A slight shift in the sine wave fed through the blade reveals the resonant frequency of the form while creating a slowly pulsing drone.
Cite Specific is an ongoing, immediate and temporary documentation format designed to bring attention to all events in a given environment and to cite the sources responsible for them.
The temporary venue is defined by the three-dimensional quotation marks. Each site is viewed as a specific composition co-created by the place and participants. The actions, the sights and sounds that surround us, our perceptions (individual and collective) are, in some form, a response to current and previous sources of input. The version of you that exists now is in reference to those sources. By placing oneself inside the frame of Cite Specific you draw attention to those sources. These phrases of action and interaction are specific movements in an emergent composition.
Many of the keys that have been issued to me over the course of my education and work history have been stamped with the direction: "DO NOT DUPLICATE"
This inevitably makes me want to duplicate them. The idea is that the key in question will unlock a door to things of value that could be used for personal gain, be it stolen or used for unsanctioned personal projects, after the term of the contract of the key's caretaker has expired. I admit that I have tried to get some of these keys duplicated and have been turned away from law abiding locksmith shops feeling slightly ashamed for the admonishment they have dealt me. It is surprising to me that even though there is no traceable element on any key that would implicate the reproducer and highly unlikely that I would even be caught using one if I were to get one, that such adherence to such an easily disregardable and unenforceable unspoken, stamped phrase persists. Maybe it's morality. Maybe it's fear. Maybe there is no support for fun or larceny in the reputable shops I visited. Maybe words, when written are more powerful than words when spoken. Maybe words that are engraved are more important still.
I decided to "sample" one of these keys that I covet and would like to maintain access to as an exercise in object liberation and appropriation. In the video I simply replicated the image to build a pattern of the object of my desire. It is a harmless act, to obsess, to repeat, to fetishize this key. It's value as a tool is depleted by removing it from the material bounds that make it useful but its value as an image is increased. Since it is a video it can also be looped to further the replication process by building the conceptual and aesthetic capital.
The casting portion this project is a similar exercise in futile objectification. The wax positives and negatives are just as removed from their value as tools and physically degrade when handled. Even if they were to be used as molds for casting actual metal replicas of the original key the fidelity of the form would be lost and the objects would remain useless. Sampling, replication, looping, repetition, editions and the like are in many ways theft of the original source material. They are also acts of devotion, care, honor, flattery and sharing.
Inner Ear(th) is an attempt to draw attention to the shapes of sounds and the materials we use to project, listen with and record them. I consider this project more sound art than anything else. It began in November, 2013 as an enormous hole dug in the approximate shape of a speaker horn. During the winter break of (2013/2014) I decided to line the site with found bricks from Mills Campus. It is now a contemplative spot where I frequently hear of people going to relax and find a bit of peace and quiet.
With Kraakwald I decided to integrate my love of the electronic noise and organic sculpture by melding them into one form. It is based on the crackle box developed by Michel Waisvisz of STEIM.
It requires sensitivity to play and one must build a relationship with the contact points to coax all the possible sounds from it. I have spent hours using it in wooded areas to mimic bird calls with great success. It is quite a pleasing object.
The Wai(eight)t is a solid bodied, double strung instrument that uses sliding bridges to access a range of pitches and timbres. Its name is derived from the weight of the log it was carved from and the slow pace one must use in playing it due to its unwieldily size and sliding bridge technique.
I have used it in conjunction with my hearing condition (tinnitus) to begin a dialogue with my ears and my instruments and as a way to develop a bodily access to the sounds that my instruments produce. Since it is a solid piece of wood that constitutes the body one must press one’s ear to the side of it to hear it clearly.
Tree Prism is an ongoing project of mine that has surfaced in several iterations. Most recently presented at the 2014 CEMEC event at Mills College, the installation took place in the lobby of the Littlefield Concert Hall. It is a three-channel video projection on a triangular prism built of wood. This version has a new audio component that uses a soundscape composed of recordings of my Analogous Ensemble instruments and processed through a MAX patch that I designed to facilitate a more portable and malleable sonic experience.