Artistic Portfolio

Aeolus Notification System (2014)
Design Commission Gallery, Seattle, USA (2014)
Tollbooth Gallery, Tacoma, USA(2016)

We are all pilgrims acting on a universal desire to progress or return to one space and the next.  The alternations of an ever-changing wind mirror our desires to be ‘wherever the wind blows’.   The Aeolus Notification Project is a project that collects destination locations from visitors to the installation.  For a month after the work, the system harvests real time wind data and sends the visitor an SMS every time the wind blows in the direction of their desired destination.

This work uses Python, Supercollider, Processing, and online SMS service Twilio.


Picture 1 shows the resultant database of lines drawn from the gallery position to each visitor’s destination updated in real time.



Aeolus_Installation view

Picture 2 shows the gallery setup at the Design Commission Gallery in Seattle USA, including the laptop interface where visitors are invited to provide data about where they would want to go.  a 6 channel soundscape also presents a designed version of the wind  harvested in real time.



Those Who Observe the Wind(2015)

Jack Straw New Media Gallery. Seattle, USA (2015)

A project that creates a metaphor for the behaviour of natural elements through Aeolian boxes that respond to real time wind data.  Data sonification and Mechatronic elements controlled through Supercollider/Arduino.

This project was an output of a research study into the history and cybernetic implications of instruments activated through natural elements. It was presented at the Jack Straw New Media Center at the end of the  Sound Art Residency Award in 2014.

thosewhoobservethewindThe gallery elements, 16 poplar boxes each fitted with a string resonator.  As wind data is tracked by the system, each direction and speed give rise to interesting patterns that develop over the course of the installation.


Sequencer made in Supercollider.  System scraps real time wind data corresponding to a station nearest to the gallery via python and sends the data to Supercollider.




Morningside Gallery, Seattle, USA. (2015)
Container Gallery, Seattle, USA. (2015)

A project that searches for live twitter messages matching a visitor’s personal descriptions of home, and creates a 3D printed city to show how intimate memories can now be shared globally.   #home was presented as part of the BlackBox New Media Festival 2015, an event that was itself part of the Seattle International Film Festival 2015.

Processing, Python, Rhino modelling, Supercollider.


Picture 4 shows the gallery installation at the Morningside gallery in Seattle
Screen Shot 2015-05-29 at 10.23.41 PM

Picture 5 shows the 3D printed form closeup as it is created.  The finished pieces are housed in a jar and given back to the visitors at the end of the installation as a gift.

Picture 6 shows the digital construction of the city, constructed through geo-locating Tweets and aggregating them 3 dimensionally using an algorithm in Rhino.  This visualization was done in Processing.




Sombrer: An Imaginary city #lost and #found (2015),

DXARTS Ballard Gallery, Seattle, USA(2015)
New Mexico, 2016 (proposed)

An audio visual installation that collects filtered Twitter feeds to create the architecture of an imaginary sunken city. These feeds also aggregate to create daily, synthetic tidal charts that control the ebb and flow of a soundscape in the gallery.  This work was inspired by the Breton myth of YS, a city built at the intertidal zone, alternately submerged and awash in tandem with the tide.



Picture 7 shows the digital construction of the city above and below the surface. Geolocated Tweets corresponding to the word ‘ lost’ generate the city underwater and tweets corresponding to the word ‘ found’ generate the city awash.  Sentiment analysis is used to determine how much the buildings grow per tweet.


Bird Song Diamond (2015)

UCLA ArtScience Center (2014)
Times Square NYC, (2015)
Governor’s Island, NY.(2015)

An NSF funded artscience venture that studies and presents research into birdsongs and avian communication.  As part of a team of artists, Joel’s role was in designing the spatial soundscape and the interactive call-response segments.  Project utilizes Open Frameworks and Supercollider in OSC communication. This installation of the Bird Song Diamond project was presented at Times Square as part of the New York Electronic Arts Festival 2015. It was also installed at Fort Jay on Governor’s Island.



Picture 8 shows the installation at Times Square in Manhatten


Birdsong evaluator made in Supercollider.




Spatial Measure(2014).
The Auricle Sound Art Gallery, Christchurch NZ.(2014)

In this project, i attempt to ‘measure’ the qualities of connectivity within the space, by creating a call/response type dialogue system between 2 technological entities.  A speech recognition algorithm listens to a live radio feed and subsequently pulls up youtube videos related to words the computer hears.  The soundscape is made through spatialization of the various youtube videos, recording them and manipulating them through SuperCollider.  The work continually evolves towards certain “found words” because of deficiencies in the speech recognition system, its’ internal logic creating an internal system of feedback that seemingly evokes a site-specific memory.

Spatial Measure was presented as part of the Auricle’s Sound art residency award, and included an installation component and a sound art performance.


Picture 9 shows the system in the gallery space



The Man who Knew Too Much (2014)
14th Street, NY (2014)

The Man who Knew Too Much is an absurdist performance where the artists locate and reveal ALL invisible and inaudible phenomenon on the street, allowing themselves to become an auditory conduit for the invisible soundscapes of Manhattan.  This absurdist soundwalk was performed in Manhatten, NYC in Fall 2014 as part of the Art in Odd Places Festival.  In it, a combination of a “sound walk” and “sound gathering” phases were carried out over the span of 3 days along 14th Street from Union Square through the High Line. Collaborative project with Robert Blatt.

Work featured the use of the Detektor (donated by IXDM lab at the University of Applied Science and Arts Northwestern Switzerland), and the Raspberry Pi and various sensors and sound recording hardware.

AIOP2014_2Picture 10 shows a public presentation and information session about the UV, radiophonic and sound pollutants in the environment.

AIOP2014_4Picture 11 shows a documentation of the sound walk




Nanovibrancy (2011)

John Curtin Gallery, Perth, Western Australia.

Nanovibrancy (2011) was undertaken at SymbioticA, the Centre of Excellence in Biological Arts at the University of Western Australia.  It was held at the John Curtin Gallery at Curtin University, Perth, Western Australia in July 2011.  In it, a tissue-engineered eardrum is probed in real time with an atomic force microscope – its surface vibrations are recorded and amplified as a multi-channel sound installation.   Nanovibrancy features a mix of wet biological science, empirical physical data processing and the aesthetics of a site-specific sound installation.



Picture 12 represents the question “What would the ear drum sound like if we were small enough to stand up on it”;





Picture 13 is the installation-performance work at the John Curtin Gallery.  An entire functional Atomic Force Microscope assemblage is transplanted from the Curtin Nanochemistry Institute into the gallery for the purposes of a live and real time sensing of the eardrum.


Spatial Experiments #3 (2014)
DXARTS, Ballard Gallery, Seattle, USA.(2015)


Number 3 in a series of 4 artistic products in my research into the monochord and string resonance features in this installation as a sensor for the acoustic resonances in the space. When resonance frequencies are detected (through amplitude thresholds in the space) , it triggers events (choreographed pure tones) based on the tension and pitch of the string. As the system adapts to the environment, the speakers move up and down (closer and farther away from the visitors) and in specific height ratios to each other, making subtle changes to the acoustic space.

Spatial Experiments III presents a case for the sympathetic resonance of acoustic and geometric space. It alludes to Pythagorean harmonicity as an expansive system both in the context of musical production and of the relationships of 3-dimensional space.


The work features the use of an electromagnetically activated string instrument, stepper motor controlled, suspended speakers.  System controlled through Supercollider including  wireless communication across multiple Arduino units.


Picture 14 shows the system in the gallery observatory space



Forced Intimacy and the Post-Immersive Soundscape (2015)

DXARTS, Ballard Gallery, Seattle, USA.(2015),
ISEA2015: Art and Disruption (2015)


A research project into spatial sound and the post-immersive soundscape constructed through highly directional parametric speakers. This project explores the poetics of spatial, sonic representations in the computational flow of online activity, fundamentally using the flow of internet traffic to direct the movements of the sound around the room. Both online activity and offline movements of people around the room create chaotic interference or disruption to the systems in place.

The project consists of DIY constructed pan-tilt stepper motor assemblages, 3-D printed parts and modified electrical circuits.  The motors are controlled by Arduino and Supercollider and feature Pololu motor drivers.

Picture 15: VIDEO sample shows a documentation of the pan-tilt assemblage at the Jack Straw New Media Gallery.



Screen Shot 2015-11-14 at 6.42.56 PM

Picture 16 shows a Simulation of the sound motion through space.



Wagon (2012)
Substation Gallery, Singapore(2012)

Wagon was a sound installation presented first at the Substation Gallery in Singapore in 2012.  It features a 6 channel surround sound composition of resonant frequencies of the space and 3 kinetic sculptures that interact and feedback with the soundscape. It was the winner of the Substation Sound Art Open Call 2012, and was featured in SeptFest 2012.



Picture 17 shows the Wagons in the gallery
Screen Shot 2012-11-13 at 9.11.32 PM

Picture 18 shows a description detail of the wagons prototype




Picture 19 shows a description of the interactive system in place and the resonant frequencies in each corner of the space that the soundscape was created from.


Video 20 shows a documentation of their movements in the space and the sounds that came from it.