Sound
I found the 250 most frequently spoken words in American English and rewrote our national anthem. By changing the words, word associations and contexts of the song, I affected the linguistic triggers that communicate meaning. The original context of the song does not correspond to the changed words. By changing the language, I changed the meaning.
2013
I remember learning as a child that once said, words can never be unspoken. This concept was powerful to me. The detriment of carelessness in speech is to say too much or state something that was not meant to be said. We all make this mistake and wish we could un-say something, but we cannot.
For this piece, I explored pulling regrets back into my body. I recorded myself telling a personal story of behavior I regret. I included sounds I remember from the event. I made our usual word-signs incomprehensible. The pacing makes the "words" sound like a different language, but they do not convey a clear spoken message.
2014
My acoustic goal was to experiment with the space of sound within the audio itself and to explore volume. Conceptually the piece is not only about pressing into someone's personal space, but also about imitating the bombardment of messages we receive daily. Pop-up ads, sales calls, advertisements on television, emails, Facebook notifications and invitations all promise us important content that we must explore immediately. This piece speaks to the lack of personal content most messages have today.
2014
I Have Something to Tell You is a reaction to our rehearsed exchanges. The piece repeats "I have something to tell you," "Listen," and "Can you hear me?" but never shares what is so pressing. The melody and rhythm set an easy pace, but the accompanying sound effects and exclamations give a sense of tension and anxiety to the piece. Listeners may expect a message, but it is never divulged.
2014
I recorded myself whispering the first three chapters of Genesis from The King James Holy Bible. I captured three recordings of each chapter and layered these recordings one atop the other. As the content changes pace, it becomes more percussive. The sharper sounds of the consonants are repeated in a way that makes the words disappear. Syntax and semantics exist in the text; however, in my readings, they no longer contribute to meaning because the sound obscures most of the content.
2013
2013
2013
This piece was inspired by Laurie Anderson's pacing and cadence. It became my stepping stone into sound. I focused on rhythm and tone, considering the piece a verbal, concrete poem.
2013
The City Appulse is a sound installation. By integrating sampled found-sounds in to an abstracted score, we create a soundscape reflecting the cacophony of sounds in downtown Orlando. Every urban setting is steeped in tone, melody and rhythm. It is our goal to reflect the tone of Orlando and immerse the viewer in the sounds specific to downtown Orlando. In modern society we have become inured to constant noise; silence no longer exists. This piece reminds us that we are engrossed in a continuous symphony.
2015
Collaboration with Rashaad Rosalle.
The City Appulse is a sound installation. By integrating sampled found-sounds in to an abstracted score, we create a soundscape reflecting the cacophony of sounds in downtown Orlando. Every urban setting is steeped in tone, melody and rhythm. It is our goal to reflect the tone of Orlando and immerse the viewer in the sounds specific to downtown Orlando. In modern society we have become inured to constant noise; silence no longer exists. This piece reminds us that we are engrossed in a continuous symphony.
2015
Collaboration with Rashaad Rosalle.
