video descriptions

negative six :: 12.01.2005?
dia:beacon guerilla performance documentation
(diane cox's junior sculpture class)
the group walked into the gallery space unsuspectedly, once inside they disrobed to all red attire. they then carried out their choreographed movements for various artworks throughout the space. they did not speak, gallery goers looked on in confusion. security staff followed the red performers with walkie talkies. i followed them with a dime-sized surveillance camera sewn into my shirt. sadly it was pointing at the ceiling, also, the sound is unsynchronized.

negative five :: 01.31.2007
untitled [real-time blocks]
beggining with an oscillator (+/-5 audio to video, video to audio), i used internal feedback to generate an image, exploiting the artifacts of various analog tools. made at the experimental television center. two unedited real-time recording/blocks are layered, one video+sound, the other sound.

negative four :: 12.02-03.2006
recursive dot movement --->
with mercedes albrecht and julia calabrese
working under the strategy 'space as process', "recursive dot movement" extends the concepts of alvin lucier's work "i am sitting in a room" and its utilization and exploitation of a room's natural resonant frequencies. what happens when a performer's movement gets de-articulated or translated, either digitally or physically by the space itself? minimal elements including costume design, choreography, video and sound integrate around the idea of site-specific recursion.

negative three:: 02.2007
mirror mirror

negative one + two :: 11.2006
fix your tracking : dethawing interface
collaboration with ben fino-radin
self-explanatory -->

zero :: 06.2006
sound by charlie mylie
this was made at this summer's workshop at the experimental television center. i have 80 minutes of this tape. the video and sound are all live, video made with turntable, miniature empire state building, and six or so live cameras. i forced myself to learn the fairlight (computer video instrument). also used were heavy dosages of internal feedback using the david jones keyer. this is unedited/effected, just chunked together from the live recording.

one :: 02.2006
untitled (excerpt from an hour long recording)
i tried to make/choose a video that would make an interesting or distinct sound when the video signal was plugged into an audio output. the dvd i made was derived from these quicktimes i found online one a
one b
, i did some layering in final cut before burning the dvd. i patched it composite out of the dvd player into the doepfer synthesizer.
what you hear is the video signal itself. i slightly modified this signal with oscillators and a ring modulator. i outputted this signal to a television monitor. it took a lot of tweaking to get something that the television monitor would recognize as ‘video’, for it often cut out to bluescreen. one extra point is that the video monitor gave off some kind of electronic signal, which interacted with the doepfer synthesizer patch. so there was a kind of feedback achieved, video>sound sound>video.
what you see in this quicktime is a video rescan of the monitor, while you hear the video signal that was sent to the monitor.

two :: 11.2005
measured time / contaminated space

documentation of installation in the john wood studios
this piece is derived from eleven hour-long recordings of individuals staring at a video camera. the installation uses three synchronized dvd's (three monitors) and two loosely synchronized dvd's (two projectors). a dv camera pointed at one of the projections is fed to a custom jitter patch that creates random frame rates, usually resulting in slowing the video down, this is outputted to a third projector. real-time audio manipulation of amplitude, pitch, and pan, happen to three to six pre-recorded audio files. the live video and sound are processed by the same jitter patch and are related. the sound files were recordings of scratched cd's and also the actual mechanism of the cd player (the sound of the laser moving back and forth).
the rather dull recordings were temporally compressed to reveal and exaggerate any slight changes or shifts in the subjects. i also (mis)used final cut's 'image stabilizer' effect to destabilize the image from the frame. audio sample.

three :: 03.2004 in holmes auditorium
a performance focusing on iraqi civilian casualties due to the current u.s. invasion. a custom max/msp patch created live surround sound. a video recording made with imag/ine was projected onstage. its soundtrack along with a separate soundtrack of computer speech were all mixed live. The second half of the quicktime is what was being projected. documentation thanks to jared ashburn. the text in the video was taken from (

four :: 09.2005
untitled (temporal/compression study)
with nadine sobel

five :: 03.2006
untitled (excerpt of video from installation)
part of collaborative show three vendors in turner gallery with peter lutz and kevin putalik, this video was made using two panning motors, one of which was custom built by peter, the show was based on materials

six + seven :: documentation of video installation -->

eight + nine :: shot summer 2004 - edited/installed spring 2005
sporadique organic flashlight
collaboration with alex lakin, footage shot in owego, ny at the experimental television center. later processed with jitter software and edited, installation in the john wood studios using four projectors, glassine envelopes and multiple stereo soundtracks.

ten :: 01.2006
unedited glitchy vhs capture of 'my sister, my love'
in progress / unfolding / put aside

eleven :: 04.2004 in the john wood studio/lobby/video studio
surveillance music
the quicktime shows...
first what the camera inside the fishtank space saw
then cuts to a close-up of the camera, zooms out to see the lobby/space
cut to seth werlin looking confused
cut to a floor above, in the video studio
note: the large screen on the left and the four monitors on the right are not part of my piece.

i made this piece by sending the video signal through the ethernet using a converter box to the floor above, here i outputted the signal to a monitor, i then taped lightsensors to the monitor, these plugged into a complex patch i made with the doepfer sound synthesizer, i then sent this stereo audio signal back through the ethernet back down a floor to the john wood studios and finally to a set of speakers. i built enough variation into synthesizer patch that for the most part it ran itself. special thanks to mark klingensmith for the technical support. the piece tries to make the passive viewed object of surveillance aware of the gaze upon them.