This sound piece dates from the year 2000; every sound you will hear comes from the human voice. I recorded myself and my mother reading Polish and English translations of Pierre Ronsard's "Sonnet to Helen", as well as the original French. In this work I wanted to discover traces of the unique characteristics of our voices as we spoke in different languages, with more or less of an accent--traces that would survive digital processing.

                              

trace

This 2002 piece was featured on the DISContact! III competition release. Kim Cascone spent a month at STEIM (Studio for Electro-Instrumental Music in Amsterdam, the Netherlands) developing a sound library based on software bugs. He distributed the samples to the microsound community, inviting members to create short pieces from the sound patterns and loops he created. I molded the audio samples into what I imagined was the whispering of my computer, declining to mask any hisses, clicks, and pops that were part of the sounds.

soft

Cinder blocks and ripped duct tape form the sounds for this noisy composition from 2001.

patient

Sound piece baed on field recording from an artist's walk I did through the State University of New York a Buffalo campus, about how the way we move through space determines our identity. Date of composition circa 1999.

movement through space

A meditation on materials. Various objects were scraped, scratched, and recorded in this minimal track. Circa 1999.

materials

This is the soundtrack for an interactive 3D poem created with Daniel C. Howe. See a demo of the poem here: https://youtu.be/L799TQ3qsMw?si=cgP9No5wcSTwS-Vy

"open.ended" is an interactive three-dimensional poem experienced through the interplay of shifting geometric surfaces. Verses appear on the faces of separate translucent cubes nested within one another. The reader manipulates a mouse, joystick, or touch-screen to bring stanzas on different surfaces into view. As cubes, faces, and layers are revealed, dynamically updating lines of text move in and out of focus. The structure of the poem facilitates a multiplicity of readings: from single verses on cube faces, to sequential verses across faces, to juxtapositions of verses across multiple cubes. Meaning is constructed actively through collaboration between reader, author, and mediated work. An audio track of the authors' layered voices extends the experience, enveloping the reader in the atmosphere of the poem, organically complementing the visual and tactile components of the work.

open.ended

Sample sound design for an installation proposal with artist Holly Wong.

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