Herein lies projects I have worked on, outside of my thesis project. Unless otherwise specified, I did the entire project. Even when collaborating with others I for the most part, shot and editted the video, and animated the sequences.

Experimental Video Project: link
(collaboration with Adam Romano, 2005)

This piece was done as, well, an experiment. I filmed ten one-minute clips, and Adam Romano composed ten one-minute clips, and we divided all the footage/sound into three second clips, and labelled them one to one hundred. asked ten different people to choose ten numbers one to two hundred, and record their order. Depending on the box the filled in, located under the number they chose (there were three) depended on the speed that the clip would play. As well, if the participant chose a number after one hundred, the clip would then play in reverse (ex 101 would be clip 1, played backwards). Each participant's survey turned into a stand alone video that fit into the series. (Please give it time to load after clicking an image, each video is 10-12mb.)

Redesigning Union Station: link [link, without the movie].
(Collaboration with Jennifer Dungan, Oz Jenab, Rob King, Adrian Milankov, Fatima Jawhari, Tori Foster, Emily Hodgins, Ryan Paterson and Corrine Anestopoulos, 2004).

My main part in this was creating a dynamic interface in which the information was to be placed. I designed the rollover interface of the background to go with the schematics of the overall project, as well, I created the character that would walk across and wipe the old information away and bring in the new.

(There is so little explanation here because the file itself contains so much information. Please give it ample time to load, it is 70mb).

Seven Rays of Light: link
(collaboration with Jennifer Dungan and Leah Herrera, 2004)

Balance and harmony is something human beings strive for, and ultimately control. People tend to blame actions or events beyond their control for their chaotic lifestyle whilst in reality they have the power to attain their goal of peaceful relaxation. While most things cannot be seen or prevented, it is in the user's power to choose whether it gets to them or not. The outline is a metaphor for where we want to be, calm, stable, contained. The figure inside, moving from one position to the next - never-ending, represents our eternal metaphysical struggle to obtain the sense of tranquility and control the outline is displaying.

At first there are seven rays of light, or stars, to represent the seven chakra, floating aimlessly outside of the outline.

"The body has spinning energy centers that look like spinning wheels and are called, Chakras. As with all things in our reality, they are linked to sound, light and color. To heal, is to bring the chakras into alignment and balance." -- source: http://www.crystalinks.com/chakras.html

The video of the figure inside the outline is abstracted and indistinguishable to begin with until the chakras are placed upon the outline's body. Each chakra snaps into its respective place, and with the aligning of each chakra the video becomes more and more clearer, until the figure is clearly visible. The chakras can also be removed from the outline's body, once again abstracting the figure. This process metaphorically speaks regarding the belief that we have the power to control how much balance or chaos affects us. It also speaks of humans, and everything involving them, are the sole creators, or subtracters of chaos.

The most visible video of the figure still remains faceless because we wished anyone to be able to envision themselves in its place. It also speaks of the idea that no matter how hard we try we cannot fully gain balance or tranquility.

Telematic Prayer Box: link
(collaboration with Bella Jung, 2003)

The aim of this project was to create an interactive, dysfunctional translator (in the traditional sense) installation that uses each country’s specific language system to spiritually communicate with one another. The proposed idea was to set up these rooms in major cities all over the world, but in the mean time, our pilot project would demonstrate Toronto, Canada and Seoul, Korea.

We intended to create aseven-foot room with 3” x 4” LCD touch screens wall to wall, top to bottom with speakers embedded in the ceiling. There would be a computer directly outside, hidden behind the room with wiring links to a transmitter and receptor attached outside the gallery to receive and transmit the code of what sounds to trigger in the room. Each major country with a participating gallery will have a room, and the LCD screens will display video and sound of the top 2352 (+/-) commonly used words in their language. We hope to house these in galleries with flexible hours to allow all walks of people to have the chance to communicate without time zones being an issue.

It reminds us of Roy Ascott’s quote “We cannot go on much longer having to define our terms everytime we engage in conversation about art” (Telematic Embrace, 274). He is correct, but why not push it further, beyond art, and deconstruct the functionality of language leaving only spirit? The past attempts have dwelt too much on unification and assimilation into one language.

Meanings are often lost in translations. Words are mistranslated or misused, therefore, losing the spirit behind it, the idea; the most important part of communication. We are meaning to reinstate the spirit, the idea, by a visceral interactivity that encourages the use of fragmented ideas, uninhibited by sentence structure or pressure to make logical sense.

The word “prayer” is used here in spiritual terms and not as a religious metaphor. Like a prayer in any/most religions, it is like sending out a message without direct knowledge of who it is going to or any guarantee of a reply. A participant may hear others’ prayers or hear a response to his own, however, replies are not literal since there is little opportunity for sentence structure, but since when did prayers ever get a verbal, logical response? Through this installation we will merge all the senses through a biological network and will awaken another sense, a sense of spiritual self.

We planned to use an array of technologies available, some of which are, but not limited to, LCD touch screens, databases, computers, wireless internet connections, transmitters, receptors, and speakers.

The Painters of Cats...: link
(2002)

This was done, in second year, in my first design class that used computers (1st year was strictly non-virtual design). A poem called "Art Show" by Caroline D. Henry is used in combination with video shot of my cat, Brooklyn and Chopin's "Nocturne."

Welcome to Torture that Famous Elf: link
(2001)

This was done, frame by frame animation. Back in first year, for the core class, before we were taught motion and shape tweens! It's a simple game based on Legolas from Lord of the Rings. Overall it's not amazing quality (especially the audio needs desperate help), but it's a demonstration of where I was, when I first entered the program.

Matchmaker, Matchmaker, Make me a Match: link
(2001)

This was done, back in first year, for the core class. A game based on the challenge of creating a populating object, a numeric randomizer and a drop zone. The number from the cricket changes each time and displays a message of whether it was too high or too low. It also keeps track of the last number dropped on the drop zone. Inspiration for the game came from Disney's Mulan. Overall it's not amazing quality (I realize now how annoying the audio is), but it's a demonstration of where I was, when I first entered the program.