15 Pendulums This is a Unity-based video piece, inspired by Reich’s Pendulum Music, but with a microtonal tuning based on a 1-3-5-7 combination-product set. The fundamental of this tuning is an upper 2/1 partial of the Schumann resonance 7.83 Hz. This Schumann resonance is basically the resonant frequency of the Earth’s electromagnetic field. Here is […]
14 days in the lockdown April, I was locked up in a central quarantine accommodation. 14 days with the extraction of fresh air and the earth, the only approach for me to connect with the loving world is the peephole in my room door and a locked up window. As I stay, I start to […]
Quarantine Acoustics When Jacob’s estranged sister Ashley asks him to reprise a role from his past, the two must come to terms with their relationship to his younger ‘female’ self in order to save their own. “Pass” is a queer one act musical in development. It had a staged reading on January 26, 2020 in […]
Happy Headroom “Happy Headroom” was part of my mid-residency show titled “Living Threads” in February 2020. The immersive installation consisted of 4-channel video and sculptures. In this video, my mom and I perform rituals as a visceral process to create a dialogue between changing states of self and site. Hair, simultaneously dead and living, functions […]
COVID Pan Drum: A Robot Tongue-Drum Rendering of the SARS-2 COVID Virus Genome I’m building a custom robot to play a little lap-sized tongue (steel) drum. A program will read through the roughly 30k base pairs in the COVID 19 (SARS-2 COVID Wuhan Seafood Market) DNA sequence. Particular (known) functioning segments will be sonified when […]
No Time For Names is a 51 minute score created in Spring 2020 by artists Rissa Dee, Luka Fisher, Jung A. Jung, Peter Kalisch, M-Other, Kyler O’Neal, Ritual Spirit, Danielle Roz, and Christina Elaine Vasquez and arranged by Luka Fisher and her garage band. Collaborators: Rissa Dee, Luka Fisher, Jung A. Jung, Peter Kalisch, M-Other, […]
ML Landscape I am interested in the inaccurate and unpredictable result that a machine can make. In order to understand its “mind”, I train the machine using images that have not been cropped, to see how it understands a thing that has not be seen before.
