A room is filled with inadvertent electromagnetic bleed generators, such as computers and desktop printers, as well as unamplified oscillator systems and pre-recorded samples. Installation participants are equipped with a handheld tape head/speaker combination to be used to listen in on the constructed but hidden soundscape. Participants can move around the room, listening in on sonic material they find interesting. However, each participant will have no choice but to make her listening interests public as broadcast through the handheld speaker. The perceptive experiment thus also becomes an experiment in group dynamics. Each participant thus contributes to a dynamic group piece that will vary based on the listening interests of each member of the group as well as each member's awareness of her contribution to a collective soundscape.

Electromagnetic signal bleed is a constant, albeit generally unnoticed part of our daily lives. Errant electromagnetic signals traveling through the air pervade our existence, the hidden byproducts of cell phones, refrigerators, and fluorescent lights. While some electronic devices merely reproduce the 60Hz hum of alternating current electricity, others create strange and beautiful sonic traces which can be made audible with a magnetic tape head and some amplification. This installation aims to create an interactive sonic environment in which the normally unheard can be experienced, taking inspiration from circuit bending's mission to discover secret sounds hidden within consumer electronics.

The CrudSpades Ginormous Thing is an interactive installation that uses the familiar interface of a step sequencer to trigger unusual electromechanical sound sculptures, made largely from previously discarded materials. Since the CrudSpades Ginormous Thing derives its sound from amplified physical objects, the user can appreciate the source of the sounds and control them intuitively, creating a wide range of noises. The sound sculptures are constructed from recycled junk, both as a statement of resistance to throw-away culture that created them, and to subvert their iconic visual language into objects of creative empowerment.

The 'brain' of the CrudSpades Ginormous Thing is the CrudBox, an open-source DIY step sequencer designed to turn other devices on or off. Instead of playing sampled sounds or controlling a synthesizer, the CrudBox works by simply sending power to one of eight outputs. Plug any device into an output channel, and that device can be sequenced in a manner instantly recognizable to electronic music fans everywhere. Two or more CrudBoxes can be synced over MIDI, for virtually endless possibilities.

The sculptures are each unique in look and behavior. They are all brightly colored, dumpster-dived, electro-acoustic instruments that either generate enough sound acoustically, or contain embedded amplifies and and speakers. While most of these objects come already set up, a few of them will be made available for the user to experiment with. This way, the installation will not only serve as a source of passive entertainment, but of active collaboration.

“Remix Station” by Paulo R. C. Barros is a collection of 18 videos, produced in 2008/2009, with partners, that works the visual language through abstract and conceptual themes, based on the minimalist principles.

The recycling of the visual and sonorous signs, the fragmentation and the impious dismount of their parts, the intentional repetition, allow the creation of an abstract, pulsing, hypnotic and seducing form of art.

The video arts soundtracks were composed using a mix of experimental sounds produced by turntablism and circuit-bending techniques.

"Entity - I" is an interactive light and sound installation based on neural networks. The work is situated at the intersection of art and science, dramatizing the electronic information systems of biological entities by thematizing neuralogical activity as an electrical storm. Neural networks, an expanding field of biology and computer sciences, which are most frequently simulated within digital environments, are explored as a sculptural and distinctly physical and interactive phenomenon.

Suspended from the ceiling is a hand-made electronic network, a web formed from many individual cords of lamps, strung together and terminated at one end in a intricate structure of control electronics, and on the other end in a large reflector light. Each cord of lights is part of a single electronic neuron. Sensors at one end of the neuron are summed together and a signal is transmitted in a cascade of rippling light and sound along the cord of lamps controlled via mechanical relays. With many elements participating in this seemingly simple transfer of electronic signals, the effect is multiplied and invades the space in which the installation is situated. The resulting generative and rhythmic patterns of flashing of light and insect-like pulses of sound envelope the viewer's senses, bathing them in an electrical storm of neural activity. The architecture of the network, the state of its environment, and viewer interaction influence the rhythmic patterns of percussive sounds and flickering light.

Because the entire network uses light as a communication method---each element responds to and generates signals in the form of light---interaction occurs primarily via light. Light, sound and temperature sensors are attached to sensory neurons at the perimeter of the installation and allow visitors to interact with the piece. The nature of interaction is extremely simple. Light, Temperature and Sound interaction will cause certain sensitive neurons to trigger and transmit to connected neurons, and because of their interconnected nature, the whole network's behavior is. Individuals sing or speak to the installation and block light with their hands to interact with the work. Simply by being present in the room, they influence ambient temperatures, thereby subtly alter the rhythmic patterns of percussive sounds and strobing light.

Four Panels is an interactive installation consisting of twenty two speakers mounted on four 4’ x 8’ clear acrylic sheets. Eleven of the speakers are routed as inputs and eleven as outputs. The inputs pick up the vibration of the plastic sheets as well as sound caused by the outputs, which results in a complex system of feedback.

Visitors actively affect the feedback not only by his or her position in the room, but also by tapping, pressing and running one’s fingers along the plastic. A very dynamic system, Four Panels reacts to itself and the listener in a multitude of ways ranging from wideband noise to discernable chords, and static drones to complex polyrhythms.

Video excerpt: http://prwhite.net/media/FourPanels.mov

Our ordinary interaction with digital images is managed by software that obfuscates their digital nature: we see the picture, not the data. In this series, I bring their digital nature to the forefront, by manipulating the files directly. This is done using software I wrote, alongside repurposed software originally designed for word processing or sound editing. The aesthetic for this series was inspired by the bold colors and iconic repetition of Pop Art, and the rectilinear patterns of Bauhaus artists such as Maholy-Nagy and Josef Albers: work that is particularly well-suited for the similar forms and the repetition of images created through the databending process.

Crystal Futures is an experiment in story telling through the augmentation or "bending" of reality. Using interactive multimedia installations the future myth of CF (Crystal Futures) is discovered. Overtime the narrative is revealed and the artifacts of each installation remain as relics from the "myth". In the narrative of CF Cathedral City replaces Manhattan as a domed private city. The process of telling the story is collaborative and participatory and is supported by the participation of actors and non actors. Using the language and the media scape of cinema Crystal Futures re-imagines crisis and speculates a prophetic resolution of our future world. The installation will serve as a "set" that will be performed in and documented on video as part of CF experimental novel and as an artifact of the piece. The participant walks through a labyrinth of sorts. The intention of the installation is to take the participant outside of reality and place them in a cinematic environment - bending reality.

Human Symphony is an entirely new musical instrument which will allow observers to control several video projected human specimens in a grunting, shrieking, burping, moaning, sneezing cacophany of human sounds.

Media Used: Nintendo Entertainment System / NES, 6502 ASM programming, custom hardware interface

Summary Statement: Random Access is an installation that reimagines one's relationship with an obsolete technology by allowing participants to "touch" the random access memory of a machine through a unique physical interface and see it visualized in real time.