(laptop music).
2007.

A purpose-built computer program references itself and its environment (the mechanical innards of a Macintosh laptop) to potentially infinite regress.

Gravitas Machine (post-Broodthaers condition).
2007.

Performance for computer, microphone, amplifier, operators, and audience. In this homage to Marcel Broodthaers, audio snippets of interviews with dance-concert audience members are "curated" by a computer operator and replayed into the performance space, announced by a lovely female-voiced "figure" and James Earl Jones' famous recitation of the numbers 1 through 10 on Sesame Street.

Approximately, it's a spiral.
2009.
Version A

Version B, "Final"

Music for choreographer Aston McCullough. An etude in mathematical form, symbolic mapping, and granular time compression/expansion. Peculiarly modernist in its zeal for mathematical rigor, timings are determined by the Fibbonaci squence, while a Fibbonaci spiral of the same proportions controls pitch and the ultra-slow playback of recorded wind-chimes. At spirals center, a text by the choreographer is harmonized and deconstructed in various, irrational ways.

Hot Dogs (Innuendo / Insinuation / Erasure).
2008.

Music for film. This collaboration with Brooklyn-based filmmaker Alan Roth utilizes various classic musique concrète and chance-based compositional methods to complement the telling of a story whose content was entirely unknown to the composer. The chronological organization of the piece is achieved through a metaphorical encoding of a recording made by the composer washing his dishes. Material taken from AM radio and a video history of the transistor industry in post-war Japan was manually "filtered" (i.e., edited without altering time) based upon two criteria: "mystical sounding" and "naughty sounding".

From Outside.
2008.

Music for dance, again in collaboration with Aston McCullough. 3.5 channels of synthesized/sampled sounds, and circumambulating electric bassist. Two podcast tours of the Sistine Chapel on two CD-boomboxes and a wandering bassist punctuate an ambient soundscape in order to acoustically convey a sense of volume and involution. Source material was also culled from a recording of the composer dismantling and rebuilding his stove. Surrealist methodologies (similar to those developed for Hotdogs above) and chance operations (the boombox CD players were set to "Randomize") were utilized throughout.