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Installations & exhibitions:
Most of this work was done in collaboration with sculptor Carolyn Healy who created all the sculptural and lighting elements in each installation.
"Residual Signal"

2014 - Residual Signal was part artist residency and part group show of sound works entitled Sanctuary, located in the historic Rotunda, University of Pennsylvania, Philadelphia, Pennsylvania. The space was 80 feet in circumference and 45 feet tall. The site-specific installation had 3 video projections, 5 channel sound, lighting and sculpture.

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"Indigo Hunting"

2012 - Indigo Hunting was part of a group show of installations, Catagenesis, located in the historic Globe Dye Works, Philadelphia, Pennsylvania. Healy and Phillips used a factory room approximately 38 feet wide, 55 deep and 30 feet tall. The site-specific installation has two video projections, sound, sequenced lighting and sculpture created from the remains of one of the most innovative dye works of the industrial past in Philadelphia.

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"Night Ferry"

2012 - Night Ferry was part of the Commotion Festival. Located outdoors in Crescent Park, Philadelphia, Pennsylvania, Night Ferry had 9 video screens, 4 video artists (Dejha Ti, Andrew Zahn, Derek Scull and John JH Phillips) and live music by Tim Motzer. It took place during the night of June 29, 2012.

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"Video Wagon"

2012 - Video Wagon was part of the Commotion Festival. University of the Arts media students Matthew Barnes, Derek Scull, and Andrew Zahn mixed live video from the front seat of a 14 foot rental truck with a rear projection screen as we drove through neighborhoods in South Philadelphia. John JH Phillips was lead artist.
Video Wagon took place on two evenings in June, 2012.

2011 - 2012 - Commotion was a large scale re-imagining of public art in Philadelphia, Pennsylvania. Commotion was an initiative of the University of the Arts, a public art project funded by PECO, commissioned by the Philadelphia Redevelopment Authority's Percent For Art Program and the Commonwealth of Pennsylvania. I was the lead artist and project director. More information can be found about Commotion at the website: Commotionphilly.org

"Figures of Speech"
2011 - Figures of Speech - A site-specific multimedia installation at 3820 Lancaster Avenue, Philadelphia, Pennsylvania. Part of the Look! Lancaster Avenue Art Festival. Sculpture, video projection with 2 channel sound and lighting in the 25' x 20' x 10' semi-renovated rowhouse.

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"Partial Clearing"

2010 - Partial Clearing - A site-specific multimedia installation at the Ganser Art Gallery, Millersville State University, Millersville, Pennsylvania. Three video projections with six speakers, sculpture and lighting in the 22' x 60' x 10' gallery.

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"Running True"

2009 - Running True - A site-specific multimedia installation at Disston Saw Works, Philadelphia, Pennsylvania. Multiple audio speakers and video projections, lights and sculpture in an unused 45' x 50' x 30' drop forge building on the Disston factory site. Part of Hidden City Philadelphia.

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2008 - MetaphorM - A site-specific multimedia installation at Suyama Space, Seattle, Washington. Three video projections, four audio speakers, sensors and sculpture in a large 30' x 50' x 20' gallery.

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"always so"

2008 - always so - Included in the group show "Clouds" at the Borowsky Gallery, Philadelphia, Pennsylvania. Curated by Miriam Seidel. "always so" is one in a series of videos I've made that address the passing of time.

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"half moon rising"

2007- half moon rising - A site-specific multimedia installation at Kutztown University's Sharadin Art Gallery. Three video projections, six audio speakers, lighting and sculpture were used in a large 40' x 60' x 20' gallery.

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"More Bloody Lies"

2005 - More Bloody Lies - A site-specific installation using video projection and a sculptural assemblage of military fabrics, buckets, curtains, reflectors and a variety of metal objects. The size was approximately 15' x 25' x 14' high. It was shown in September of 2005 at the IceBox Project Space, Crane Art Center in Philadelphia, Pennsylvania and as part of a group show entitled OperationRAW.

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"Limbic Pentameter"

2003, 2004 - Limbic Pentameter - A site-specific installation using video projection, 4 channel sound, lighting and a sculptural assemblage of various pipes, screens, plexiglass panels, wire and assorted metal grids. The size was approximately 25' x 45' x 16' high. It was shown in March and April of 2003 at the Rose Lehrman Arts Center Gallery in Harrisburg, Pennsylvania and as part of the Live Arts Festival in Philadelphia during September 2004.

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2002 - here&now - A site-specific installation in a 20' x 20' room in the former Alverthorpe Manor, now Abington Art Center, Abington, Pennsylvania, during September and October of 2002. We transformed the all white, fluorescently lit space into a dark and meditative chamber with a 24-color geometric wall mural, light refractions and 4 channel sound.

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2000 - Synopera - Carolyn Healy and I created a small but dense sound, sculpture and light installation at Larry Becker Contemporary Art, Philadelphia, Pennsylvania. It was situated in an unused freight elevator which opened to the street. We used the sliding doors of the elevator to create a horizontal opening through which visitors could look and listen. The piece ran concurrently with the Philadelphia Fringe Festival.

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1999 - Cross-Talk - One of the first multimedia computer music-based installations ever presented in the People's Republic of China, Cross-Talk was on display at the China World Trade Center during part of October 1999. Over 2000 visitors came through the piece. Our work was sponsored by the International Computer Music Association's 1999 conference. We used MAX/MSP on a Powerbook as the main controller. Lighting and sound generation as well as the inputs from the various analog sensors were under its control.

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1998 - Intro-specks - Sited in historic Rackham Hall on the University of Michigan campus, Ann Arbor, Michigan, Intro-specks was created for the International Computer Music Association's 1998 conference. Sculptor Carolyn Healy created a gathering of "found objects" which suggested elemental units.

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1998 - Nmesh - Nmesh was installed in a large empty warehouse in Old City Philadelphia. Using found metallic materials, sculptor Carolyn Healy created an abstract elegy to her mother - an environment of stillness and anticipation. A custom made rotating light suspended from the ceiling added a mesmerizing element to the lighting. The soundscape was created using Max to control playback of numerous samples (mostly derived from the human voice then modified in MetaSynth) and move those sounds through four powered speakers at ceiling height. We used an out of production switcher called a Flash. Two other speakers were place at the ends of the 140 ' floor providing a low frequency component. Nmesh was part of the Philadelphia Fringe Festival.

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"Growth Factor"

1997- Growth Factor - Carolyn Healy and I created, in an empty store -front, a sculpture/sound environment concerned with energy and forms of emotional and physical matter coming into coherence. Using modified industrial debris, Carolyn produced an evocative visual drama of objects seeming to force their way up and out of the floor, while hovering above were huge loops of aircraft cable. I created a complex, real-time sound environment to complement the visual dynamics using six speakers which reacted to each other's activity and volume level by following various computer algorithms implemented in MAX. It was shown in conjunction with the Philadelphia Fringe Festival.

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1995 - "Overtones" is an excerpt from an on-site recording of a recent sound work, part of an installation, with sculpture and lighting by Carolyn Healy, in a vacant, historically valuable prison (Eastern State Penitentiary). We used an entire cell block of 28 individual cells in a reverberant corridor 250 feet long. In 20 of those cells I created a soundchip-speaker system. Because of the damp and dirty conditions at the site, I used an analog chip (the kind used in those singing birthday cards) with a playback length of 72 seconds. I recorded, then digitally modified, sounds of imprisonment. Included are: chains dragging, stones tumbling, coughing, moaning, mumbling, the birds outside, punching, a clock ticking. Each continuously looping chip had one or two of these sounds. By varying the length of each chip's loop by several seconds, the soundscape slowly changed as the visitor walked down the cell block. As with all site-specific art, this excerpt only "sounds right" in place and certainly needs the visual component.

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"Ether/Aura: An Electromagnetic Event"

1991 - The sculpture, by Carolyn Healy, acted as an antenna for 8 receivers (low frequency to cosmic rays) the outputs of which were processed and mixed by computer and heard quadraphonically through speakers placed in the sculpture. Numerous small lights were programmed and sequenced to pulse and fade. The installation was the site of two performances with dancer Alice Forner and nuclear physicist Dr. Donald Neville.
- Exhibited at the Institute of Contemporary Art, Philadelphia, Pennsylvania.

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"Shallow Breathing"

1989 - This installation was sited in a long darkened room with a high ceiling. Carolyn Healy created the sculpture and lighting. The lights changed slowly using a digital sequencer /lighting controller. The sound portion was a 23 minute tape loop which played continuously through eight speakers throughout the installation.
- Exhibited at Carnegie Mellon University, Pittsburgh. Pennsylvania, USA.

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"Molly Bloom"

1987- The sculpture and lighting served as the setting for a performance piece in which actress Joanna Peled delivered the entire Penelope episode of James Joyce's Ulysses over a four hour period. Carolyn Healy designed the set and lighting. There were 8 short (3-4 minutes) sound compositions played between the "sentences" as well as a 26 minute sound tape that was heard as an overture to the performance.
- Performed at Symphony Space and La Mama, New York, New York; Temple Gallery Stage Three, Philadelphia, Pennsylvania.
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"Pwll Glo (shaft)" 2003 - A minute audio and video installation in a fireplace. The location was the 5-Spot, a popular Philadelphia night club. Pwll Glo (shaft) was part of a guerilla group show and was featured as part of the Philadelphia Fringe Festival. Pwll Glo means "coal mine" in Welsh.

"Word Salad"

1998 - Word Salad - This "sound object" was created for the SEAMUS '98 conference at Dartmouth College. Carolyn Healy contributed to the sound component which was created entirely from her reading her poem A True Story. The sound was played back through the day-glo salad bowls speakers which were very lo-fi and "beam-y." This enabled me to play with directional effects and create an aural equivalent of the inside/outside theme of the writing. The chair was wrapped in surgical gauze.

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1998 - Dietrologia - Sited in a lecture room designed by artist Siah Armajani and dedicated to architect Louis Kahn, Dietrologia was a four speaker sound installation which was created from the sounds of the neighborhood mixed with modified samples and purely synthesized tones. It played quietly. This piece was part of the 100th anniversary celebration of the Fleisher Art Memorial. The show was called "A Generation of Challenge Artists."

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1997- PipSqueak(479) - A two-hour live performance in Arco Park, University of the Arts, Philadelphia, PA. I recorded many hours of the sounds of the neighborhood before making a bank of over 100 samples which I drew upon for the performance using my Buchla Lightning. With four large speakers placed in the four corners of the park, I used the Lightning to chose the samples, pan the sound and control the filter and modulation parameters. Some of the sounds were extensively modified, some untouched. I either accompanied the live sounds of the park and street or provided some aural counterpoint!

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1995 - The E.G.A.C (Experimental Genetic Algorithm Cart) used a computer to produce music created by random number generators. These generators tell a synthesizer (located on the E.G.A.C.) which notes to play. Each series of random numbers produced can be filtered by rules such as "only use the numbers that can be divided by 3", or "change the synthesizer sound whenever the number 126 appears." By pressing the MUTATION button you are telling the computer program to select another group of filters. I have used several basic "if-then" rules derived from genetic and evolutionary science to guide the selection process when the button is pressed. The speed, duration and rhythm of the notes are varied as well as the kinds of sounds heard. This "evolution-mutation" of the music is implemented in the computer program MAX.
- Exhibited at the Museum of American Art at the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

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