In the MAIDen series, the mannequins represent the duality between being a maiden, one who is respected and adored versus being a maid, one who is subservient to another. In contemporary culture there is a conflict between the messages sent to women and girls: on one hand, there is empowerment, independence, and confidence in being a strong woman, while on the other hand, there are various media portrayals of feminine personages and ideals that many cannot live up to that create a feeling of inferiority and failure.

In the MAIDen series, the mannequins represent the duality between being a maiden, one who is respected and adored versus being a maid, one who is subservient to another. In contemporary culture there is a conflict between the messages sent to women and girls: on one hand, there is empowerment, independence, and confidence in being a strong woman, while on the other hand, there are various media portrayals of feminine personages and ideals that many cannot live up to that create a feeling of inferiority and failure.

In the MAIDen series, the mannequins represent the duality between being a maiden, one who is respected and adored versus being a maid, one who is subservient to another. In contemporary culture there is a conflict between the messages sent to women and girls: on one hand, there is empowerment, independence, and confidence in being a strong woman, while on the other hand, there are various media portrayals of feminine personages and ideals that many cannot live up to that create a feeling of inferiority and failure.

In the MAIDen series, the mannequins represent the duality between being a maiden, one who is respected and adored versus being a maid, one who is subservient to another. In contemporary culture there is a conflict between the messages sent to women and girls: on one hand, there is empowerment, independence, and confidence in being a strong woman, while on the other hand, there are various media portrayals of feminine personages and ideals that many cannot live up to that create a feeling of inferiority and failure.

In the MAIDen series, the mannequins represent the duality between being a maiden, one who is respected and adored versus being a maid, one who is subservient to another. In contemporary culture there is a conflict between the messages sent to women and girls: on one hand, there is empowerment, independence, and confidence in being a strong woman, while on the other hand, there are various media portrayals of feminine personages and ideals that many cannot live up to that create a feeling of inferiority and failure.

In the MAIDen series, the mannequins represent the duality between being a maiden, one who is respected and adored versus being a maid, one who is subservient to another. In contemporary culture there is a conflict between the messages sent to women and girls: on one hand, there is empowerment, independence, and confidence in being a strong woman, while on the other hand, there are various media portrayals of feminine personages and ideals that many cannot live up to that create a feeling of inferiority and failure.

In the MAIDen series, the mannequins represent the duality between being a maiden, one who is respected and adored versus being a maid, one who is subservient to another. In contemporary culture there is a conflict between the messages sent to women and girls: on one hand, there is empowerment, independence, and confidence in being a strong woman, while on the other hand, there are various media portrayals of feminine personages and ideals that many cannot live up to that create a feeling of inferiority and failure.

In contemporary, Western society it is hard to imagine that a person could live without committing any one of the seven deadly sins. In a culture where media saturation and instant gratification are the norm, it is next to impossible to live a so-called virtuous life and would lead one to believe that the sins are irrelevant. Yet there is a pendulum that swings between media messages of over-indulgence and puritanical ideologies, an opposition that influenced this re-examination of the seven deadly sins not as vices to avoid, but as devices used to initiate reflection upon one's life.

The images presented here are the digital collages created as part of the original project, which culminated in an interactive, carnival-esqe game. The installation was a large arcade box with the wheel attached to the front of the cabinet. When users spun the wheel, the sin selected triggered a video montage in a display unit in the cabinet. There were instances on the wheel in which the user could land on a counter virtue, but those were much harder to select reinforcing the struggle to lead a virtuous life (as described by the sins and virtues) in Modern society.

Wheel Dimensions: 36" diameter

Wheel Materials: Inkjet print attached to 1/4" thick clear plexi.

Tech: Image and video edited with Photoshop, Final Cut Pro, and AfterEffects. Programmed in MAX/MSP with Jitter.

Equipment: Laptop, mini LCD screen, web camera, rotary sensor, and micro-controller

In contemporary, Western society it is hard to imagine that a person could live without committing any one of the seven deadly sins. In a culture where media saturation and instant gratification are the norm, it is next to impossible to live a so-called virtuous life and would lead one to believe that the sins are irrelevant. Yet there is a pendulum that swings between media messages of over-indulgence and puritanical ideologies, an opposition that influenced this re-examination of the seven deadly sins not as vices to avoid, but as devices used to initiate reflection upon one's life.

The images presented here are the digital collages created as part of the original project, which culminated in an interactive, carnival-esqe game. The installation was a large arcade box with the wheel attached to the front of the cabinet. When users spun the wheel, the sin selected triggered a video montage in a display unit in the cabinet. There were instances on the wheel in which the user could land on a counter virtue, but those were much harder to select reinforcing the struggle to lead a virtuous life (as described by the sins and virtues) in Modern society.

Wheel Dimensions: 36" diameter

Wheel Materials: Inkjet print attached to 1/4" thick clear plexi.

Tech: Image and video edited with Photoshop, Final Cut Pro, and AfterEffects. Programmed in MAX/MSP with Jitter.

Equipment: Laptop, mini LCD screen, web camera, rotary sensor, and micro-controller

In contemporary, Western society it is hard to imagine that a person could live without committing any one of the seven deadly sins. In a culture where media saturation and instant gratification are the norm, it is next to impossible to live a so-called virtuous life and would lead one to believe that the sins are irrelevant. Yet there is a pendulum that swings between media messages of over-indulgence and puritanical ideologies, an opposition that influenced this re-examination of the seven deadly sins not as vices to avoid, but as devices used to initiate reflection upon one's life.

The images presented here are the digital collages created as part of the original project, which culminated in an interactive, carnival-esqe game. The installation was a large arcade box with the wheel attached to the front of the cabinet. When users spun the wheel, the sin selected triggered a video montage in a display unit in the cabinet. There were instances on the wheel in which the user could land on a counter virtue, but those were much harder to select reinforcing the struggle to lead a virtuous life (as described by the sins and virtues) in Modern society.

Wheel Dimensions: 36" diameter

Wheel Materials: Inkjet print attached to 1/4" thick clear plexi.

Tech: Image and video edited with Photoshop, Final Cut Pro, and AfterEffects. Programmed in MAX/MSP with Jitter.

Equipment: Laptop, mini LCD screen, web camera, rotary sensor, and micro-controller

In contemporary, Western society it is hard to imagine that a person could live without committing any one of the seven deadly sins. In a culture where media saturation and instant gratification are the norm, it is next to impossible to live a so-called virtuous life and would lead one to believe that the sins are irrelevant. Yet there is a pendulum that swings between media messages of over-indulgence and puritanical ideologies, an opposition that influenced this re-examination of the seven deadly sins not as vices to avoid, but as devices used to initiate reflection upon one's life.

The images presented here are the digital collages created as part of the original project, which culminated in an interactive, carnival-esqe game. The installation was a large arcade box with the wheel attached to the front of the cabinet. When users spun the wheel, the sin selected triggered a video montage in a display unit in the cabinet. There were instances on the wheel in which the user could land on a counter virtue, but those were much harder to select reinforcing the struggle to lead a virtuous life (as described by the sins and virtues) in Modern society.

Wheel Dimensions: 36" diameter

Wheel Materials: Inkjet print attached to 1/4" thick clear plexi.

Tech: Image and video edited with Photoshop, Final Cut Pro, and AfterEffects. Programmed in MAX/MSP with Jitter.

Equipment: Laptop, mini LCD screen, web camera, rotary sensor, and micro-controller

In contemporary, Western society it is hard to imagine that a person could live without committing any one of the seven deadly sins. In a culture where media saturation and instant gratification are the norm, it is next to impossible to live a so-called virtuous life and would lead one to believe that the sins are irrelevant. Yet there is a pendulum that swings between media messages of over-indulgence and puritanical ideologies, an opposition that influenced this re-examination of the seven deadly sins not as vices to avoid, but as devices used to initiate reflection upon one's life.

The images presented here are the digital collages created as part of the original project, which culminated in an interactive, carnival-esqe game. The installation was a large arcade box with the wheel attached to the front of the cabinet. When users spun the wheel, the sin selected triggered a video montage in a display unit in the cabinet. There were instances on the wheel in which the user could land on a counter virtue, but those were much harder to select reinforcing the struggle to lead a virtuous life (as described by the sins and virtues) in Modern society.

Wheel Dimensions: 36" diameter

Wheel Materials: Inkjet print attached to 1/4" thick clear plexi.

Tech: Image and video edited with Photoshop, Final Cut Pro, and AfterEffects. Programmed in MAX/MSP with Jitter.

Equipment: Laptop, mini LCD screen, web camera, rotary sensor, and micro-controller

In contemporary, Western society it is hard to imagine that a person could live without committing any one of the seven deadly sins. In a culture where media saturation and instant gratification are the norm, it is next to impossible to live a so-called virtuous life and would lead one to believe that the sins are irrelevant. Yet there is a pendulum that swings between media messages of over-indulgence and puritanical ideologies, an opposition that influenced this re-examination of the seven deadly sins not as vices to avoid, but as devices used to initiate reflection upon one's life.

The images presented here are the digital collages created as part of the original project, which culminated in an interactive, carnival-esqe game. The installation was a large arcade box with the wheel attached to the front of the cabinet. When users spun the wheel, the sin selected triggered a video montage in a display unit in the cabinet. There were instances on the wheel in which the user could land on a counter virtue, but those were much harder to select reinforcing the struggle to lead a virtuous life (as described by the sins and virtues) in Modern society.

Wheel Dimensions: 36" diameter

Wheel Materials: Inkjet print attached to 1/4" thick clear plexi.

Tech: Image and video edited with Photoshop, Final Cut Pro, and AfterEffects. Programmed in MAX/MSP with Jitter.

Equipment: Laptop, mini LCD screen, web camera, rotary sensor, and micro-controller

In contemporary, Western society it is hard to imagine that a person could live without committing any one of the seven deadly sins. In a culture where media saturation and instant gratification are the norm, it is next to impossible to live a so-called virtuous life and would lead one to believe that the sins are irrelevant. Yet there is a pendulum that swings between media messages of over-indulgence and puritanical ideologies, an opposition that influenced this re-examination of the seven deadly sins not as vices to avoid, but as devices used to initiate reflection upon one's life.

The images presented here are the digital collages created as part of the original project, which culminated in an interactive, carnival-esqe game. The installation was a large arcade box with the wheel attached to the front of the cabinet. When users spun the wheel, the sin selected triggered a video montage in a display unit in the cabinet. There were instances on the wheel in which the user could land on a counter virtue, but those were much harder to select reinforcing the struggle to lead a virtuous life (as described by the sins and virtues) in Modern society.

Wheel Dimensions: 36" diameter

Wheel Materials: Inkjet print attached to 1/4" thick clear plexi.

Tech: Image and video edited with Photoshop, Final Cut Pro, and AfterEffects. Programmed in MAX/MSP with Jitter.

Equipment: Laptop, mini LCD screen, web camera, rotary sensor, and micro-controller

In contemporary, Western society it is hard to imagine that a person could live without committing any one of the seven deadly sins. In a culture where media saturation and instant gratification are the norm, it is next to impossible to live a so-called virtuous life and would lead one to believe that the sins are irrelevant. Yet there is a pendulum that swings between media messages of over-indulgence and puritanical ideologies, an opposition that influenced this re-examination of the seven deadly sins not as vices to avoid, but as devices used to initiate reflection upon one's life.

The images presented here are the digital collages created as part of the original project, which culminated in an interactive, carnival-esqe game. The installation was a large arcade box with the wheel attached to the front of the cabinet. When users spun the wheel, the sin selected triggered a video montage in a display unit in the cabinet. There were instances on the wheel in which the user could land on a counter virtue, but those were much harder to select reinforcing the struggle to lead a virtuous life (as described by the sins and virtues) in Modern society.

Wheel Dimensions: 36" diameter

Wheel Materials: Inkjet print attached to 1/4" thick clear plexi.

Tech: Image and video edited with Photoshop, Final Cut Pro, and AfterEffects. Programmed in MAX/MSP with Jitter.

Equipment: Laptop, mini LCD screen, web camera, rotary sensor, and micro-controller

The (R) Doc Series is a group of digital collages for the basis of a handmade book. The series employs the technique of erasure: the act of erasing, rubbing into, scraping out or removing from existence (ref: m-w.com) -- as a way of altering the original text. As seen in many so-called "declassified" documents, words of concern are blackened out, removing not only content, but context. The viewer of the document is then left with the various fragments to piece together into their own interpretation.

Image Dimensions: 10" H x 24" W

The (R) Doc Series is a group of digital collages for the basis of a handmade book. The series employs the technique of erasure: the act of erasing, rubbing into, scraping out or removing from existence (ref: m-w.com) -- as a way of altering the original text. As seen in many so-called "declassified" documents, words of concern are blackened out, removing not only content, but context. The viewer of the document is then left with the various fragments to piece together into their own interpretation.

Image Dimensions: 10" H x 24" W

The (R) Doc Series is a group of digital collages for the basis of a handmade book. The series employs the technique of erasure: the act of erasing, rubbing into, scraping out or removing from existence (ref: m-w.com) -- as a way of altering the original text. As seen in many so-called "declassified" documents, words of concern are blackened out, removing not only content, but context. The viewer of the document is then left with the various fragments to piece together into their own interpretation.

Image Dimensions: 10" H x 24" W

The (R) Doc Series is a group of digital collages for the basis of a handmade book. The series employs the technique of erasure: the act of erasing, rubbing into, scraping out or removing from existence (ref: m-w.com) -- as a way of altering the original text. As seen in many so-called "declassified" documents, words of concern are blackened out, removing not only content, but context. The viewer of the document is then left with the various fragments to piece together into their own interpretation.

Image Dimensions: 10" H x 24" W

The (R) Doc Series is a group of digital collages for the basis of a handmade book. The series employs the technique of erasure: the act of erasing, rubbing into, scraping out or removing from existence (ref: m-w.com) -- as a way of altering the original text. As seen in many so-called "declassified" documents, words of concern are blackened out, removing not only content, but context. The viewer of the document is then left with the various fragments to piece together into their own interpretation.

Image Dimensions: 10" H x 24" W

The (R) Doc Series is a group of digital collages for the basis of a handmade book. The series employs the technique of erasure: the act of erasing, rubbing into, scraping out or removing from existence (ref: m-w.com) -- as a way of altering the original text. As seen in many so-called "declassified" documents, words of concern are blackened out, removing not only content, but context. The viewer of the document is then left with the various fragments to piece together into their own interpretation.

Image Dimensions: 10" H x 24" W

The (R) Doc Series is a group of digital collages for the basis of a handmade book. The series employs the technique of erasure: the act of erasing, rubbing into, scraping out or removing from existence (ref: m-w.com) -- as a way of altering the original text. As seen in many so-called "declassified" documents, words of concern are blackened out, removing not only content, but context. The viewer of the document is then left with the various fragments to piece together into their own interpretation.

Image Dimensions: 10" H x 24" W

The (R) Doc Series is a group of digital collages for the basis of a handmade book. The series employs the technique of erasure: the act of erasing, rubbing into, scraping out or removing from existence (ref: m-w.com) -- as a way of altering the original text. As seen in many so-called "declassified" documents, words of concern are blackened out, removing not only content, but context. The viewer of the document is then left with the various fragments to piece together into their own interpretation.

Image Dimensions: 10" H x 24" W

The (R) Doc Series is a group of digital collages for the basis of a handmade book. The series employs the technique of erasure: the act of erasing, rubbing into, scraping out or removing from existence (ref: m-w.com) -- as a way of altering the original text. As seen in many so-called "declassified" documents, words of concern are blackened out, removing not only content, but context. The viewer of the document is then left with the various fragments to piece together into their own interpretation.

Book Dimensions: 26" L x 12" W x 3" H (does not include images 5 and 7)

Materials: Inkjet prints, wood, stain, felt, and glue.

The Apparitions d'etres-objets (phantom object-beings), are a continuation of the MAIDens. The mannequins and their gaze are suspended in time and confined to a space luring the viewer in. Yet, they are restricted in their communication by the shear fact that they are not real, but facsimiles that have been gagged, caged, and positioned for pure, visual consumption.

Dimensions: 30" H x 24" W

The Apparitions d'etres-objets (phantom object-beings), are a continuation of the MAIDens. The mannequins and their gaze are suspended in time and confined to a space luring the viewer in. Yet, they are restricted in their communication by the shear fact that they are not real, but facsimiles that have been gagged, caged, and positioned for pure, visual consumption.

Dimensions: 30" H x 24" W

The Apparitions d'etres-objets (phantom object-beings), are a continuation of the MAIDens. The mannequins and their gaze are suspended in time and confined to a space luring the viewer in. Yet, they are restricted in their communication by the shear fact that they are not real, but facsimiles that have been gagged, caged, and positioned for pure, visual consumption.

Dimensions: 30" H x 24" W

Dreams Are Sensitive Self-Knowledge is a handmade artist book that explores the process of erasure. As words are erased from the original text, hidden undercurrents of thought, narrative, and imagery rise to the surface, leading the mind on a journey of dreams.

Dimensions: 6.5" H x 4.5" W (single pages)

Dreams Are Sensitive Self-Knowledge is a handmade artist book that explores the process of erasure. As words are erased from the original text, hidden undercurrents of thought, narrative, and imagery rise to the surface, leading the mind on a journey of dreams.

Dimensions: 6.5" H x 4.5" W (single pages)

Dreams Are Sensitive Self-Knowledge is a handmade artist book that explores the process of erasure. As words are erased from the original text, hidden undercurrents of thought, narrative, and imagery rise to the surface, leading the mind on a journey of dreams.

Dimensions: 6.5" H x 4.5" W (single pages)

Dreams Are Sensitive Self-Knowledge is a handmade artist book that explores the process of erasure. As words are erased from the original text, hidden undercurrents of thought, narrative, and imagery rise to the surface, leading the mind on a journey of dreams.

Dimensions: 6.5" H x 4.5" W (single pages)

Dreams Are Sensitive Self-Knowledge is a handmade artist book that explores the process of erasure. As words are erased from the original text, hidden undercurrents of thought, narrative, and imagery rise to the surface, leading the mind on a journey of dreams.

Dimensions: 6.5" H x 4.5" W (single pages)

Dreams Are Sensitive Self-Knowledge is a handmade artist book that explores the process of erasure. As words are erased from the original text, hidden undercurrents of thought, narrative, and imagery rise to the surface, leading the mind on a journey of dreams.

Dimensions: 6.5" H x 4.5" W (single pages)

Dreams Are Sensitive Self-Knowledge is a handmade artist book that explores the process of erasure. As words are erased from the original text, hidden undercurrents of thought, narrative, and imagery rise to the surface, leading the mind on a journey of dreams.

Dimensions: 6.5" H x 4.5" W (single pages)

Unready to Wear is a series of images based on Kurt Vonnegut's short story of the same name published in 1953. The main characters in the story are hyper-aware of their physicality and seek an alternative lifestyle in which they separate their minds from their bodies. Yet they do not rid themselves of all bodies, instead they keep a select few that are deemed worthy by visual appearance, intellect, and health. This series of digital collages uses erasure as a technique for uncovering hidden narratives, constructed from the existing text. Narratives attuned to the corporeality of bodies that are on display and always ready to wear, similar to fashions on a mannequin in a storefront.

Dimensions: 16.5" H x 20.5" W

Unready to Wear is a series of images based on Kurt Vonnegut's short story of the same name published in 1953. The main characters in the story are hyper-aware of their physicality and seek an alternative lifestyle in which they separate their minds from their bodies. Yet they do not rid themselves of all bodies, instead they keep a select few that are deemed worthy by visual appearance, intellect, and health. This series of digital collages uses erasure as a technique for uncovering hidden narratives, constructed from the existing text. Narratives attuned to the corporeality of bodies that are on display and always ready to wear, similar to fashions on a mannequin in a storefront.

Dimensions: 16.5" H x 20.5" W

Unready to Wear is a series of images based on Kurt Vonnegut's short story of the same name published in 1953. The main characters in the story are hyper-aware of their physicality and seek an alternative lifestyle in which they separate their minds from their bodies. Yet they do not rid themselves of all bodies, instead they keep a select few that are deemed worthy by visual appearance, intellect, and health. This series of digital collages uses erasure as a technique for uncovering hidden narratives, constructed from the existing text. Narratives attuned to the corporeality of bodies that are on display and always ready to wear, similar to fashions on a mannequin in a storefront.

Dimensions: 16.5" H x 20.5" W

Unready to Wear is a series of images based on Kurt Vonnegut's short story of the same name published in 1953. The main characters in the story are hyper-aware of their physicality and seek an alternative lifestyle in which they separate their minds from their bodies. Yet they do not rid themselves of all bodies, instead they keep a select few that are deemed worthy by visual appearance, intellect, and health. This series of digital collages uses erasure as a technique for uncovering hidden narratives, constructed from the existing text. Narratives attuned to the corporeality of bodies that are on display and always ready to wear, similar to fashions on a mannequin in a storefront.

Dimensions: 16.5" H x 20.5" W

Unready to Wear is a series of images based on Kurt Vonnegut's short story of the same name published in 1953. The main characters in the story are hyper-aware of their physicality and seek an alternative lifestyle in which they separate their minds from their bodies. Yet they do not rid themselves of all bodies, instead they keep a select few that are deemed worthy by visual appearance, intellect, and health. This series of digital collages uses erasure as a technique for uncovering hidden narratives, constructed from the existing text. Narratives attuned to the corporeality of bodies that are on display and always ready to wear, similar to fashions on a mannequin in a storefront.

Dimensions: 16.5" H x 20.5" W

Unready to Wear is a series of images based on Kurt Vonnegut's short story of the same name published in 1953. The main characters in the story are hyper-aware of their physicality and seek an alternative lifestyle in which they separate their minds from their bodies. Yet they do not rid themselves of all bodies, instead they keep a select few that are deemed worthy by visual appearance, intellect, and health. This series of digital collages uses erasure as a technique for uncovering hidden narratives, constructed from the existing text. Narratives attuned to the corporeality of bodies that are on display and always ready to wear, similar to fashions on a mannequin in a storefront.

Dimensions: 16.5" H x 20.5" W

Unready to Wear is a series of images based on Kurt Vonnegut's short story of the same name published in 1953. The main characters in the story are hyper-aware of their physicality and seek an alternative lifestyle in which they separate their minds from their bodies. Yet they do not rid themselves of all bodies, instead they keep a select few that are deemed worthy by visual appearance, intellect, and health. This series of digital collages uses erasure as a technique for uncovering hidden narratives, constructed from the existing text. Narratives attuned to the corporeality of bodies that are on display and always ready to wear, similar to fashions on a mannequin in a storefront.

Dimensions: 16.5" H x 20.5" W

Unready to Wear is a series of images based on Kurt Vonnegut's short story of the same name published in 1953. The main characters in the story are hyper-aware of their physicality and seek an alternative lifestyle in which they separate their minds from their bodies. Yet they do not rid themselves of all bodies, instead they keep a select few that are deemed worthy by visual appearance, intellect, and health. This series of digital collages uses erasure as a technique for uncovering hidden narratives, constructed from the existing text. Narratives attuned to the corporeality of bodies that are on display and always ready to wear, similar to fashions on a mannequin in a storefront.

Dimensions: 16.5" H x 20.5" W

Train is an interactive artwork that examines the disparity between linear travel (of our physical bodies) and the way we interact with media, especially the Internet (virtual bodies). Developments during the Industrial Revolution, such as film (movies) and locomotives, introduced motion into media-making processes that heightened human sensibilities. Formerly displaying a linear trajectory, media is now fragmented as information reaches the masses in bits and pieces, collaged together to form some version of reality.

The video composition of Train projects this non-linear system onto a traditionally linear form of transportation forming a matrix of simultaneously looped sequences that can be accessed (on/off) in any order, but prevent the train in the video footage from traveling a decisive path from point A to point B.

Tech: Audio/video edited with Final Cut Pro, Digital Performer, and Flash. Programmed in Director.

Equipment: CPU, projector, and speakers.

Train is an interactive artwork that examines the disparity between linear travel (of our physical bodies) and the way we interact with media, especially the Internet (virtual bodies). Developments during the Industrial Revolution, such as film (movies) and locomotives, introduced motion into media-making processes that heightened human sensibilities. Formerly displaying a linear trajectory, media is now fragmented as information reaches the masses in bits and pieces, collaged together to form some version of reality.

The video composition of Train projects this non-linear system onto a traditionally linear form of transportation forming a matrix of simultaneously looped sequences that can be accessed (on/off) in any order, but prevent the train in the video footage from traveling a decisive path from point A to point B.

Tech: Audio/video edited with Final Cut Pro, Digital Performer, and Flash. Programmed in Director.

Equipment: CPU, projector, and speakers.

Train is an interactive artwork that examines the disparity between linear travel (of our physical bodies) and the way we interact with media, especially the Internet (virtual bodies). Developments during the Industrial Revolution, such as film (movies) and locomotives, introduced motion into media-making processes that heightened human sensibilities. Formerly displaying a linear trajectory, media is now fragmented as information reaches the masses in bits and pieces, collaged together to form some version of reality.

The video composition of Train projects this non-linear system onto a traditionally linear form of transportation forming a matrix of simultaneously looped sequences that can be accessed (on/off) in any order, but prevent the train in the video footage from traveling a decisive path from point A to point B.

Tech: Audio/video edited with Final Cut Pro, Digital Performer, and Flash. Programmed in Director.

Equipment: CPU, projector, and speakers.

Everything Louder Than Everything Else is an audio installation comprised of a feminine cosmetic device, a 1960s hair dryer that is playing an audio piece containing a traditionally masculine form of music, hard rock. The selection of music plays a double role by: a) examining the duality between femininity versus a tomboy point of view, and b) representing the event that caused a hearing impairment, another impetus for the piece.

The work documents the cyclical cause and effect of lifestyle choices on the artist's hearing beginning with the temporary irritation that became permanent damage, which then led to the internalization of the constant ringing in the ears, a side effect of the damage. Finally, the piece addresses the re-aggravation of a hearing problem by the very mode that caused the initial problem.

Tech: Audio edited with Digital Performer.

Equipment: CD player, amplifier, speakers, hair dryer, and salon chair.

Length: 7'30

Everything Louder Than Everything Else is an audio installation comprised of a feminine cosmetic device, a 1960s hair dryer that is playing an audio piece containing a traditionally masculine form of music, hard rock. The selection of music plays a double role by: a) examining the duality between femininity versus a tomboy point of view, and b) representing the event that caused a hearing impairment, another impetus for the piece.

The work documents the cyclical cause and effect of lifestyle choices on the artist's hearing beginning with the temporary irritation that became permanent damage, which then led to the internalization of the constant ringing in the ears, a side effect of the damage. Finally, the piece addresses the re-aggravation of a hearing problem by the very mode that caused the initial problem.

Tech: Audio edited with Digital Performer.

Equipment: CD player, amplifier, speakers, hair dryer, and salon chair.

Length: 7'30

Voice of the Electric City is the first interactive, surveillance installation developed by Patrick Lichty and Laura M. Rusnak (aka Clevelander-Z). For this installation, C-Z programmed a live video environment across two 10'x10' screens in an abandoned department store. An iSight webcam monitored the current scene on the street facing the installation, and processed it into an aesthetic line-drawing in real time.

The live video information also drives various graphic elements, color and accesses a database of mined political blog information from prominent Cleveland weblogs of all ideologies. The third layer consists of a large collection of images taken of the surrounding city relating especially to areas mentioned in the blog information. In this way, C-Z seeks to find the 'voice of the electronic (digital) city' through live processing of its physical past (sites) its discursive present (blogs) and the immediate future (the unfolding scene around the site).

Tech: Digital texts, photography, and video. Programmed in Keyworx.

Equipment: MAC mini, iSight webcam, two projectors, and screens.

Voice of the Electric City is the first interactive, surveillance installation developed by Patrick Lichty and Laura M. Rusnak (aka Clevelander-Z). For this installation, C-Z programmed a live video environment across two 10'x10' screens in an abandoned department store. An iSight webcam monitored the current scene on the street facing the installation, and processed it into an aesthetic line-drawing in real time.

The live video information also drives various graphic elements, color and accesses a database of mined political blog information from prominent Cleveland weblogs of all ideologies. The third layer consists of a large collection of images taken of the surrounding city relating especially to areas mentioned in the blog information. In this way, C-Z seeks to find the 'voice of the electronic (digital) city' through live processing of its physical past (sites) its discursive present (blogs) and the immediate future (the unfolding scene around the site).

Tech: Digital texts, photography, and video. Programmed in Keyworx.

Equipment: MAC mini, iSight webcam, two projectors, and screens.

Surveillance is now a way of life. Everywhere in our living spaces, cameras provide a myriad of eyes to watch our every move. To paraphrase philosopher Paul Virilio, "There are eyes everywhere… There is no blind spot left." Even at home, spyware and illicit government data mining tracks our activities, including every click.

Everywhere, control seeks to inscribe its agendas on the individual, regardless of whether they are private or public. We are sought for opinion polls, tracked for marketing statistics, and even profiled for potential threats to the established cycles of capital and power.

We Serve In Silence is the second interactive installation developed by Clevelander-Z (Patrick Lichty and Laura M. Rusnak). This project seeks to make visible these agendas and abuses of power, while using client-side surveillance techniques to give the user a sense of re-empowerment. While the user will be watched by the installation, the piece will also monitor net activity. The data obtained from the data mining will then determine textual and graphic elements in the piece, revealing the forces seeking to paralyze the individual in a grid of total control. In this way, we hope that the participant will be abstracted by the installation, but also re-humanized by the gesture of their presence.

This project entails elements of surveillance and counter-surveillance through the use of the Teleo board (Surv.) and Carnivore (C-Surv). Formal elements of the projection are defined by the motion/position sensing of the Teleo video module, while visual/textual elements are defined by the captured network data via CarnivorePE.

Tech: Real-Time data extraction with RSG's CarnivorePE application and Real-Time video surveillance of the installation space. Programmed with ActionScript.

Equipment: MAC mini, Teleo board with video module, one dome surveillance camera, and projector.

An Ohio native, Laura has a BFA in Illustration from the Cleveland Institute of Art, a MFA in Computer Art from Syracuse University, and is currently working on a PhD in Mass Communication at Ohio University. Her research and teaching interests include Art/Tech studio practices, such as communication design (online and print), net.art, dynamic web scripting, digital imaging & alternative print processes, and interactive installation along with Art/Media studies, such as history of new media, visual culture, electronic rhetoric, gender/sexuality in media, and women’s & gender studies.

Curriculum Vitae: Download PDF