My practice lies at the intersection of art, technology, and media theory. The emerging field of Media Archaeology has been particularly influential on my work, and has informed my critical investigations into media technologies, their histories, and the ways in which technical objects effect human perception. The results of these inquiries take on the form of experimental video, sound art, installation, and a kind of sci-fi sculpture, in an effort to compress the space between the media technological past and our contemporary relationship to seeing machines and electronic prostheses.
Because technical objects alter our perception of the world, these alterations call into question the stability of time as a linear continuity of events, and of space as a configuration of fixed points. Rather than retreat from such instability, envisioning new histories and alternative uses for technical objects might allow us to rethink the relationship between human and machine. Such an investigation is important because if machines determine human perception, then any speculation about the future of humanitys relationship to the world must now begin, not with the human, but with the technical object.