In my art practice I explore the conceptual, perceptual, and affective dynamics of
digital culture. My projects turn on a series of interrelated, rather obscure
abstractions—such as the criterion used to designate value (i.e., the measure to
which signals are distinguished from background noise), the tools and
distributive agencies involved in this enterprise of evaluation, and the
implications of being immersed and positioned within the flows of digital traffic.

In light of these abstractions, I observe the manner in which digital platforms
mobilize and maintain establishments, affiliations, and material relations. For
example, in my recent work I have considered affective labor in relation to the
proliferation of divergent collective identities—ranging from overt social conditions,
such as the fear-based tribalism that demarcates the current American political
landscape—to more subtle and long-standing operatives, such as the conceptual
and affective underpinnings that inform various religious and secular prophecies
of an imminent and catastrophic end of days.

I develop projects such as these by seeking out, contouring, and disrupting the
formal/affective conventions of digital media—with the intention of foregrounding
the ascendant processes and operant motivations that shape everyday sounds and