WORKS

the sum of ren
unc
iat
ions
♤OBRAZOVANSHCHINA💀

MUZiX

[manifesto

]

I play upon
the 1s and 0s
and call on
lyrical ghosts
from the
digital archive.

I abstract the unmuted dance of the black-box;
sonic drones
and secret transmissions.

I resonate
within the arc
of recursive feedback 
hovering in the liminal places, between
"write" and "make."

I believe in
the apophenia of error,
the compound eye,
and the logic
of the holy fragment.

I embrace the
ecstatic collision.

I constantly think in audio concepts in my work, i.e. setting a threshold , which defines the point AT which an input triggers a process that transforms output. 


​with Visuals, I work with an imaginary threshold between abstraction and mimesis. I can play across it like a bow on a violin string. I echo this in my relationship with theory and technology. I SEEK OUT intuitive/LYRICAL epiphanies WHEREVER THEY MIGHT BE FOUND.

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THIS IS THE FIRST VIDEO CAMERA I EVER PUT MT HAND TO (9:30 CLUB IN WASHINGTON D.C.).  



VISIBILITY WAS LIMITED AT THE ORIGINAL F STREET LOCATION. THE LAYOUT WAS A LABYRINTH. THEY ADDRESSED THIS LIMITATION VIA CLOSED CIRCUIT TV SYSTEM AND A DOZEN CATHODE RAY TVS POSITIONED THROUGHOUT THE VENUE. 



FROM A CAR SEAT WELDED TO A SUPPORT BEAM SEAT 10 FEET ABOVE STAGE, I SHOT JEFF BUCKLEY, THE SWANS, STEREOLAB, DEBBIE HARRY AND MANY MORE. 





I LEARNED HOW TO USE MY EYE TO EXPLOIT THE CONSTRAINTS OF MY LIMITED POSITION TO DRAW OUT THE DETAILS OF THE PERFORMANCES.


THIS APPROACH OF PERFORMATIVE LIVE-FEED TV PLUS CAPTURED OUTPUT BECAME THE BASIS OF MY AUDIOVISUAL PRACTICE.