art samples and self-driven interjections

(all video selections require quicktime.)

i am a dedicated abstractionist. i design and perform on frameworks for improvisatory animation using laptops in club and party situations.

what does that mean? i guess you could call me a VJ, but i prefer ‘live visualist’ as a term.
but what does that MEAN? it means i make trippy shit. i’ve been doing this for about six years now, and i’ve developed feedback techniques that don’t really look like anyone else’s work.

when working in club situations, i feel that my responsibility is to the vibe of the party. i think of myself as more of a light artist than a storyteller. i want people’s reaction to my work to be physiological in nature, instead of cognitive.

what does that mean? it means i think stories have no place in nightclubs.
but what does that MEAN? it means shut up and dance. see the flickery gorgeous shit every now and then.

i want your palms to sweat, your pores to open, your pupils to dilate. shut up and and dance, and let all of the rest of the work around you do its work for you.

a low-rez export of warsnog (in a vacuum) [made live with audio by habitrail, 2005]

feedback explorations, circular decisions, a domestic core.

custom software, too much equipment, accidental movement.

(about four years ago, I released an absolutely free version of my performance software, including code, with no restrictions, called dervish.)

i am a time junkie. in a destructive fashion. i explore the mutability of time through computers, and investigate the shattering of temporal flow.

what does that mean? i create time-convolved video projects, as installations, screen-based video art, and live situations.
but what does that MEAN? i love timelapse video, but not necessarily fast stuff. you can play with video rate in so many ways, why restrict yourself? it can be slow, it can be fast, it can meander through a sequence in a random fashion.

a selection from prinsengracht (nothing from something) [limited edition 10 disks, 2006]

2 minutes from a 45 minute granular distillation of 5 minutes of video from 10 hours of realtime.

nothing is done
nothing is done
nothing is done

i think copyright is stupid. especially digital copyright. it's just numbers and sequences, and to claim endless ownership of said numbers and sequences is greedy and asinine.

what does that mean? i make work which makes sport of frenzied deconstruction of owned media.
but what does that MEAN? i use television like paint and air.

a low-rez export of thirteen hours of the discovery channel [limited edition 30 disks, 2001]

when does content stop being content?

when does ownership evaporate?

when does history fade?