My approach to multimedia projects is rooted in academic research, design, and the correlation of these elements, which serve as a source of inspiration for technique. My expertise in this field is derived from my English degree from UT (2002), my professional experience answering reference queries at the Harry Ransom Humanities Research Center (2002 – 2007), and my hardware knowledge gained as a musician.
The project, "Room of Resonance," delved into the exploration of Tibetan Buddhism and the principles of impermanence and emptiness. For instance, the immersive projection in the room was designed to simulate a perpetually changing environment by interacting with the audience's audio. This manipulated audio also mirrored the audience's reactions, fostering a collective experience. To validate these design concepts, I conducted sound design and projection experiments with a team of artists. Additionally, I explored experimental fog techniques, although these did not prove successful and were not included in the final presentation.
"The Silent City " necessitated a deep dive into Musique Concrète, Pierre Schaeffer, and Early Dutch Electronic Music (1956-1963). These findings informed the techniques used for the composition of the music. Once again, drawing inspiration from the Buddhist concept of emptiness, I devised a method for performing Musique Concrète that was generated by the audience, with each participant contributing to the collective performance. I utilized breadboards for testing circuitry designs and experimented with resin to mold illuminated light fixtures and hardware encasings, all in collaboration with a team of artists.
"The Quality or Condition" was influenced by my research on Sartre and his concept of 'Bad Faith', as well as the modernist composer David Behrman. These insights were incorporated into the design by creating walls adorned with identical clay faces, each representing a unique story and perspective. This design approach alludes to the fluidity of identities, roles, or 'hats' that an individual encounters in life. The musical composition and performance were inspired by my research in Behrman's techniques for reprocessing sounds.
"Calculated Carelessness" was inspired by study on Soren Kierkegaard’s techniques in writing, "The Seducer's Diary", and his concept of 'Indirect Communication'. This was manifested in the project by manipulating the audience's experience in an immersive environment and then abruptly altering the rules. In the experimental phase, I tested various screen materials with projections and installation methods. I also experimented with bike wire connected modules, all in collaboration with a diverse team of artists.