Theremin Sampler Watch
2004/2011
The original iteration of the watch, which also functioned as a timepiece, was first exhibited at Todd Baily’s Chicago Nerd Battle at Deadtech in 2004. The piece was conceived as a way to bring the principles of Luigi Russolo’s Art of Noise into everyday contexts, integrating avant-garde sound practices into the routines of daily life. By making sound art accessible and wearable, the intention was to blur the boundaries between experimental art and common experience, allowing people to carry and engage with sound art in settings as varied as classrooms, social outings, or commutes.
At the time of its inception, noise art and experimental sound practices occupied niche spaces with limited exposure. The internet had yet to develop into the expansive cultural platform it is today, and synthesizer culture, now a prominent feature of contemporary music, was far less mainstream. In this context, the watch was an effort to normalize and promote noise art from the ground up, introducing its aesthetic and conceptual possibilities to a broader audience. The aim was to challenge the conventions that confined sound art to galleries and academic circles, encouraging its integration into ordinary life.
Since then, the cultural landscape has shifted significantly. The resurgence of theremins and synthesizers and the growing visibility of sound art in both mainstream media and institutional settings have made such practices more accessible and widely accepted. What was once a radical concept has become a more familiar aspect of contemporary art and music.
The version of the watch depicted in the image was produced as part of a Kickstarter campaign to support the third album of Octant, my ongoing solo music project. It was offered as a reward for upper-tier backers, extending the project’s ethos of connecting sound art with everyday life to its supporters in a tangible and functional way.
PWM Tone Generator
2015
I created an instrument to assist in designing other instruments by helping identify fundamental resonant frequencies and optimal pulse-width modulation (PWM) settings for ferrous metal objects. This instrument uses an electromagnet at its output to induce vibrations in metal elements such as tines, prongs, strings, and membranes. Functioning as a square wave oscillator with PWM, it allows for precise control over the proportion of “on” and “off” time in each wave cycle.
An LCD provides essential feedback, allowing me to document findings that inform the design of driver coils, metal resonators, and similar components. Additionally, I constructed a variable power supply unit that connects to the oscillator’s power input. This setup provides adjustable voltage to the electromagnet, giving further control over its output to suit different applications and material types.
Floating Pickup
2014
The floating pickup is encased in a box that houses both the pickup itself and the electronics of a standard electric guitar. I use this device to experiment with alternate pickup positions and to create a stereo output from a standard electric guitar for recording purposes. Additionally, I have used it in live performances to capture low-frequency pulses emitted from the solenoid coils of my robotic percussion instruments. This versatile device serves as a flexible experimental tool with a wide range of applications, enhancing both recording techniques and live sound exploration.
The Muckrakor
2003
8-bit sampler, acrylic chassis with custom and circuit bent electronics from Yamaha VSS-30
Random Tone Generator
1998
Collection of light-modulated circuit bent sound generators housed in a plastic bowling ball. The gooseneck lamp is made from a weird tail light that I found at a truck stop.