I am a musician living in New England.
I am interested in our drive to synthesize composite events in thought and externalize them through a sensory-motor interface, creating social bonds. My work seeks to intervene in the constraints that determine musical and verbal discourse. I intervene culturally by substituting frames with divergent assumptions into otherwise familiar settings. I intervene perceptually by designing formalisms that mirror our intuitive capacities, then surveying them for limit cases and thresholds where salience breaks down or finds exemplary footing. I intervene cognitively by creating roles for performers that carve out a space of unconsciousness, laying bare the inertia of our personal idiosyncrasies and biological faculties.
As a teenager I fell in love with the recorded history of jazz, and at the age of seventeen I moved to Hartford to study with Jackie McLean. Soon after, I discovered a community of intriguing autodidacts living in Middletown, Connecticut, an hour to the south. After two years I dropped out of jazz school and relocated there, hoping that together we could create new musical idioms.
I formed several ongoing groups with my Middletown friends that examined the ways musicians think and communicate with one another. I also began a long apprenticeship with Anthony Braxton which consisted of touring with his group, researching and developing his Ghost Trance music, and watching science fiction movies.
In 1999, I moved to New York City to see what kindred spirits I would find there. I continued my idiosyncratic pursuits in the cracks of the music industry, while teaching early childhood music in public schools and private music lessons to many unique individuals.
In 2003, my work took a fundamental turn when I shifted my focus from what the musician is thinking about to what the musician is not thinking about. I resumed practicing jazz, fascinated by the way a jazz solo articulates musical knowledge that the soloist is not yet conscious of. From 2005 to 2010, I organized the New Languages Festival, the first jazz festival to focus on my generation of musicians. Since then, New Languages has supported people and projects that invent new frames and frameworks for live musical collaboration.
In 2010 I began to meet a generation of visual artists exploring social practice. I helped organize several experimental schools, in particular The Public School New York. From 2010 to 2013, I worked at Eyebeam Art and Technology Center. In 2015 I joined the staff at Bennington College, where I teach coding and run the Digital Arts Studio.