In 2012 I created my first interactive touch wall: Touch #1. The work built on my experience creating the visuals for Still Life and was largely inspired by seeing autistic children experiencing pure joy while interacting in an immersive environment.
Touch #1 received a great response and was later installed at Exploration Place and at Living Arts Gallery in Tulsa. Touch #1 was also the inspiration for my next touch wall, Touch #2.
In the Spring of 2008 I taught Wichita State University’s Assembly Language Programming for Engineers course. As explained in the syllabus, the course used the Z80 microprocessor and the GameBoy platform to introduce general concepts of computer architecture, machine and assembly language programming. Students practiced the ideas and concepts introduced in the course with programming…
Touch #2 is a playful virtual environment and an interactive, musical instrument. Viewers become participants through play. The work transforms any flat wall into a touch-sensitive surface. A projector and infrared camera mount on the ceiling and infrared emitters mount on top of the wall, allowing the work to detect as many as 10 touches…
Contrapuntal Composer is Prolog code which writes music for three simultaneous voices. Depending on initial parameters, it can write a fugue, a rondo, or any other contrapuntal form. Contrapuntal Composer obeys the rules of good voice leading within each voice and between the voices.
Around 2004 I developed a few protoype microphones enhanced to also offer proximity detection. The microphone could adjust it’s amplitude and bass response based on the proximity of the person using it. This would lessen the variable results users experience when holding a microphone too close or too far. Moreover, with proximity or its derivative mapped to a combination…
Doubletalk, a two player audio-manipulation game was my first serious endeaver with the Gameboy. The game used the Pocketvoice, a Gameboy cartridge with a built-in amplified speaker and microphone. In Doubletalk, players record themselves, reverse their recordings, then try to guess what each other is saying.
I worked with a team of colleagues, community members, and urban youth. Our intention was to help the youth learn in a playful environment, find personal self-expression, and have their voices heard by communities in Boston. To do this, we adapted commercially available technology to provide a unique medium: digital puppetry.