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  10. Posts (updated: 10/12/2019)
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  12. ๐Ÿ”‘Keybase Profile
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  15. Altar VI: Shapes (and Other Shapes)
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  22. Category: "essays"
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  66. Tagged: "compression"
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  70. Tagged: "octopus project"
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  74. Tagged: "ai"
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  78. Tagged: "videos"
  79. Tagged: "ACC"
  80. Tagged: "Vimeoโ€™s"
  81. Tagged: "self"
  82. Tagged: "Juegos"
  83. Tagged: "Rancheros"
  84. a2p
  85. MSHR
  86. Untitled Goose Game Is The Unexpect...
  87. RIP Daniel Johnston
  88. Rose-Lynn Fisher /Topography of Tears
  89. Day-Glo masterpieces are fading. A ...
  90. An Oral History of Lilys' Astonishi...
  91. Hill Country Caves Reveal Secrets t...
  92. Every* Recording of Erik Satieโ€™s โ€œG...
  93. Lionel Page on Twitter
  94. Illusory sound texture reveals mult...
  95. JUEGOS RANCHEROS and Fantastic Arca...
  96. Brentwood Hypertext User's Group (J...
  97. School & Thunderbeam
  98. Dan Tepfer, Natural Machines Ep. 7 ...
  99. delay_ok - YA TATU
  100. Constellation
  101. Link- Forest of Sleep- Procedural g...
  102. Fomogotchi
  103. The Ground Itself
  104. Harmonia
  106. Flat โ€” Xxyxyz
  107. Requiem for a Toaster
  108. What I'm Doing
  109. GlitchScarf
  110. Projection mapping in Unity
  111. Sun Raโ€™s Full Lecture & Reading Lis...
  112. Mini vMac for iOS
  114. General Bonkers
  115. PUREkev
  116. PING
  120. Adam Bryanbaum Wiltzie - 485 - Elec...
  121. Fantastic Arcade 2017
  124. 2017 Adult Swim Singles โ€“ Brian Eno...
  125. First wave games announced!
  126. Norman
  127. Help Me Help You
  128. Wednesday with Goddard
  129. Plurabelle - Our Fires
  130. the silent city II
  132. Piqniq Scientifiq
  133. Topology
  134. Wormholes
  135. Syd Barrett - Effervescing Elephant
  136. IINA
  137. Words
  138. time for sushi
  139. Luna. Visual and textual functional...
  140. -kyลfu no sekai-
  141. Mixed Reality - THEORIZ - RnD test 002
  142. Greenscreen Cookies
  143. Lucid Movement- an interview with F...
  145. An AI invented a bunch of new paint...
  146. Walden Pink
  147. The Octopus Project Memory Mirror M...
  148. Memory Mirror, by The Octopus Project
  149. A Tiny Amphibian Trapped in Amber I...
  150. Anna Taberko
  151. Everything
  152. All the ghostly sounds that are los...
  153. Oikospiel
  154. Hidden Folks
  155. brixsystem
  156. Scavengers
  157. MELTER!
  158. HandBrake 1.0.0 Released
  159. Mystic_move
  160. Project Moonbase | The Historic Sou...
  161. H.264 is Magic
  162. Transcoding a movie library with Ha...
  163. Talking about VDMX over on the VIDV...
  164. Using Lumen and VDMX together with ...
  165. Tinnitus Neuromodulator
  166. Fantastic Arcade Itch.io Bundle
  167. prosthetic knowledge โ€” RIP Bill Etr...
  168. Peek Inside The Notebooks Of A Lege...
  169. James Paterson At Eyeo 2013
  170. Les Mรฉtamorphoses de Mr. Kalia
  171. that.party
  172. The Distant Future of the Here and Now
  173. Monkeytown 6
  174. Bob Sabiston at Nerd Nite
  175. A New Blog
  176. Fantastic Arcade 2015 videos online
  177. The Universe According to Scrooge M...
  178. /documents/01_1989_BHUG.sit
  179. /documents/ENGL-1301_Wiggins-Aaron.pdf
  180. /documents/PSYC-2301_Wiggins-ikiru.pdf
  181. /documents/cv.pdf
  182. /documents/family-history.pdf
  183. /documents/hoarder.txt
  184. /documents/sheriff Grandma.pdf
  185. A Man Alone
  186. Catalog
  187. Dolven
  188. Lithopedion
  189. Topology
  190. General Bonkers
  191. 2018 Reel
  192. Late 2018 Reel
  193. Looping Starship
  194. .โ”€โ”€โ”€โ”€โ”€. โ–ผโ–ผโ–ผโ–ผ ,' `.โ–ผโ–ผโ–ผโ–ผ โ”‚ โ•ฑ blugh โ•ฒ โ”‚ โ”‚ ; .โ”€. .โ”€. :โ”‚ โ”‚ : โ–ถโ”€โ–พโ”€โ—€ โ–ถโ”€โ–พโ”€โ—€ ;โ”‚ โ””โ”€โ”โ•ฒ `โ”€' `โ”€' โ•ฑโ”Œโ”˜ โ”‚ โ–ถโ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ—€ โ”‚ โ”‚ `. ,' โ”‚ โ–ผ `โ”€โ”€โ”€' โ–ผ
  195. โ”Œโ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ” โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”Œโ”€โ”€โ”€โ”€โ”€โ”โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚Enterโ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ””โ”€โ”€โ”€โ”€โ”€โ”˜โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆโ–ถโ—€โ–ฉโ–ฉโ–ฉโ–ฉโ–ฉโ–ถโ—€โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆ โ”Žโ”Œโ”€โ”€โ”€โ”โ”“ โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆ โ”ƒโ”‚โ–คโ–คโ–คโ”‚โ”ƒ โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆ โ”ƒโ”‚โ–คโ–คโ–คโ”‚โ”ƒ โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆ โ”ƒโ”‚โ–คโ–คโ–คโ”‚โ”ƒ โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆ โ”ƒโ””โ”€โ”€โ”€โ”˜โ”ƒ โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ””โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”˜
  196. โ—ฐ โ—Š โ—ณ ฮ› โ–ปโ•ฎ โ•ฑ โ•ฒ โ•ญโ—… โ”‚ โ•ฑ โ•ฒ โ”‚ โ”œโ— โ”ˆ โ–ทโ”ค โ”‚ โ•ฒ โ•ฑ โ”‚ โ–ปโ•ฏ โ•ฒ โ•ฑ โ•ฐโ—… V โ—ฑ โ—Š โ—ฒ โ”Œโ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ” โ”‚where is a soul? โ”‚ โ””โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”˜
  197. โ”Œโ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ” โ”‚โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‰โ—โ—โ—โ—โ—โ—โ—โ—โ—โ”‚ โ”‚โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‰โ—โ—โ—โ—โ—โ—โ—โ—โ—โ”‚ โ”‚โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‰โ—โ—โ—โ—โ—โ—โ—โ—โ—โ”‚ โ”‚โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‰โ—โ—โ—โ—โ—โ—โ—โ—โ—โ”‚ โ”‚โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘x1xโ—โ—โ—โ—โ—โ—โ—โ—โ”‚ โ”‚โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‰โ—โ—โ—โ—โ—โ—โ—โ—โ—โ”‚ โ”‚โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‰โ—โ—โ—โ—โ—โ—โ—โ—โ—โ”‚ โ”‚โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‰โ—โ—โ—โ—โ—โ—โ—โ—โ—โ”‚ โ”‚โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‰โ—โ—โ—โ—โ—โ—โ—โ—โ—โ”‚ โ”‚โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‘โ—‰โ—โ—โ—โ—โ—โ—โ—โ—โ—โ”‚ โ””โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”˜

There was once an inside and an outside.
Now the walls of context are gone. Instead of walls we have tunnels of attention.
If I have your attention, I can speak privately to you because Iโ€™m functionally invisible in this new landscape where everything is visible.

an abstract image

I have pretty bad tinnitus now. I think a lot about how we threshold out sensations. Growing accustomed to a hot bath, to a pain that never goes away. At some point that sensation stops telling us anything new and it stops demanding our attention, but itโ€™s still there, in the background, part of a largely ignored fixture we call โ€˜everythingโ€™. I think about how much of the movie we construct from our senses is an hallucination. Filling in the holes, creating associations. Imbuing meaning, stripping meaning away.

An ocean of noise. Itโ€™s hard for me to pick out your voice in this sea of voices. Iโ€™ve resorted to trying to read lips. At night thereโ€™s this everpresent screaming nerve that cries out for flat white noise to cover it. Thereโ€™s always too much noise or not enough noise. Turning the lights up and down in our room. Changing โ€˜everythingโ€™. Finding a place to sit in my own body. Exhaustion.

There used to be compartments to place selves. Now signal bleeds through everywhere. Angrily putting up walls, finding secret spaces, but our voices carry, our tracks are easy to follow. The only way to hide is to jump into that ocean of noise, where everything is heard and thereby nothing is heard.

Until a couple of years ago I was creating extremely noisey visual art, with the intention of triggering some sort of apophenia in the audience, wherein individual viewers might each see something unique in random or chaotic movement. Where brief harmonies of co-movement might create a feeling of resolution, the satisfaction of pattern identification. Each viewer would bring their own meaning and emotions to these resolutions and dissolutions. The bigger and more immersive the better, blotting out โ€˜everythingโ€™ with a field of noise that might all be somehow meaningful, stretching how much awareness of sense one could maintain for as long as possible.

a cartoon rabbit is anxious

In the last two years of schooling Iโ€™ve wanted to experiment with simple, intentional symbols and shapes. Cartoon and character animation. Iโ€™d like to use the lessons Iโ€™ve learned about perception of shapes, motion, the appeal of a character, all the things that make conventional commercial animation successful, and then take those lessons of perceptual psychology to return to my original work, with an understanding of what we notice, understand and remember of our senses.

Iโ€™m hoping to put all of these lessons into practice in experiments that test how meaning is transmitted, and to learn a language to work with these sorts of ideas.

What do you and I consider meaning that should be preserved in processed, distressed, compressed media and what does an algorithm see as important?

In a world where we are all deafened by each otherโ€™s voices, how do I reach you with a message in a bottle, with a feeling, with a constructed space that has its own rules?