In my sound, drawing, and video works, I explore affective labour and the aesthetics of
digital mediation. 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 largely intangible networks, I observe the manner in which cinematic
techniques produce affect as a means of mobilizing and maintaining 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 epistemological 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 images.