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Through the Looking Glass
I’ve always been fascinated by water patterns, explored in this video through the looking glass of a camera lens which takes me closer or farther than I can reach while standing on shore, wading, swimming, or paddling a canoe. The magnification that the lens provides allows me to capture what I can’t observe with my own eyes due to physical obstructions, capabilities, or disruptions in the patterns that adding my body to the water creates. The patterns are illusive, changing in an instant due to variations in wind, light, currents, distance, and/or camera angle. I wanted to capture patterns of rainfall, but the severe drought of 2015 in the San Francisco Bay Area prevented it, so the focus turned to bodies of water in and around the Bay Area. The sounds I wished to hear in these locations were very delicate but were overwhelmed by sounds of helicopters, motorcycles, trucks, cars, trains, BART, and constant planes. I transformed the sounds of these and other human generated sounds into sounds that reflected the natural environment that I captured on video. The images are just as they were captured, without processing. My earlier video Liquid Metal also focused on water patterns and the intrusion of human-created sounds into the wilds. -
Polvere nera
The totality of the acoustic material. Excavated, mutilated. Sublimated and deposited. The One that is fragmented and reduced to dust. Chalk blocks engraved and carved through the space and elasticity of time. Polvere nera is divided into four sections, bounded by sudden stops and static poses, in which there is an incessant dialogue between two opposing formal poles: bands and points. In the end the dialogue becomes union through a process of massification of the material that does not however cancel the intrinsic differences of the models employed. Polvere nera was constructed using noise, synthesis sounds and percussive sounds. -
Projections
Projections was composed for American Music Theatre Project at Northwestern University and the University of California at Davis Department of Theatre & Dance production {re: CLICK], a digital performance in response to the play “Click” by Jacqueline Goldfinger. The fundamental questions explored in the play, as well as my piece are: What is my body in the Internet? What does post-traumatic growth look like in the digital age? Who tells your story? With this piece, I’ve expressed these questions and answers sonically, in an abstract sound-world of pedestrian, concrete, and artificial sounds. -
Coalesce
Revolving around a brief video of a dead leaf fluttering in the wind, coalesce; is a visual and auditory piece, inviting the audience to enter a world of evolution. The piece shifts as a living creature changing through life, beginning with lo-fi visuals and ambient sounds to a gradually more structured presentation. Ableton Live 10 was used to record and manipulate ambient sounds, vocals, and acoustic violin as performed by the composer. Max 8 code programmed for the project was then linked up to Live to generate and synchronize the manipulation of video effects and the auditory component. -
What happened in Panop?
This interdisciplinary project is a musical mime performance that utilizes the mime’s movements to generate sounds in real-time. For this purpose, the performer wears a glove with an embedded wireless motion sensor. The receiving data from the sensors generate real-time sounds through a MAX/MSP patch and creates the required music for the performance. Silent Music uses the mime’s body as a musical instrument and creates a particular relationship between musical events and gestures.