• Video art: reworking Google Street View user navigation, I’m developing three wide format polyscreen works (2x 16:9) for multichannel installation. Using navigational dynamics of ‘stretch’, ‘turn’ and ‘bleed’, these become ways of thinking about new emerging ontologies of the image - in relation to machinic vision, privacy and the public, geological shifts of the anthropocene etc. Other video strategies include performing through online environments, and in public space with vehicular and pedestrian movement/mapping using GOPROs and mobile devices (smartphones, tablets).
  • Performance & Mobile Media: through workshops with performers and non-performers, we’re developing a range of techniques and procedures for exploring modes of ‘dis/appearance’ - with relation to GSV user navigation and its post-cinematic potential. (See recent workshop collaboration with Alanna Thain, Martin Lan, and dance students at Universidad de las Américas in Mexico.) These investigations include psychophysical performance techniques, using objects as the performance of things in themselves, and media playback for untimely overlays and spatial displacements of sound and video.
  • Sound art: through collaboration with Doug Van Nort at TML (and others), exploring the intersection of deep listening and audio reprocessing, alongside performing bodies, media devices and material processes/objects.
  • Interactive & Online Media: through collaboration with Julian Stein at TML (and others), using interactive media for performance improvisation. Through collaboration with Peter Weibrecht and Soeren Rasmussen (Senselab residents), developing online modes for public intervention and improvisation (for example using Google Bubble). 
  • Critical writing and discussion: through lecture performances (eg. YUTPS, forthcoming), artist talks and workshops, I'm keen to see how more speculative and participatory ‘writing machines’ may emerge from the affordances of material processes, relational techniques, and interdisciplinary affinities. How can such writing machines operate as a ‘patching’ or distribution of conceptual resources alongside performing bodies, media devices, and material objects/processes?