Artists, designers and developers are encouraged to program image creating applications, which will be published as four-page spreads in the book.

These programs visualize internet data-streams or display self-generated content. They are able to save continuously changing images on demand.

Every application will run through an auto-generative printing program which generates and compiles all images and metatexts into a printable book.

The printing will be done digitally due to continuously changing data.

The final result will be an unique art book; a fusion of various digital artworks in printed form.

(In)Visible is an interactive performance that uses light as a way of challenging our perception of the body in space. It questions how the phenomenology of space, effected by light and conversely the absence of light, can alter our experience of a dance. Participants enter a pitch dark room and can only perceive the movement using their other four senses. From the outside a screen displays what is going on inside the room through the use of infrared cameras. Thus, the screen mediates the perception between two worlds—One that is seen solely through visible light, and the other that is completely absent of it. The dancers become a vehicle for confronting the viewer with the body removed; one that becomes compressed to two dimensions, only to be seen through either the screen or in darkness.

The exhibition is a series of data visualizations that weave together a story about population increase, climate change, natural disasters, refugees, and remittances and there affects on global communities. I was brought on to design and program the scenario about natural disasters and had the opportunity to work with three other amazing designer/programmers: Stewart Smith, Aaron Myers, and Bobby Pietrusko. The video was projected on a wall that circumscribes the gallery, surrounding the viewer with and immersive visual and audio experience. All visuals were created using Processing.


The scenario on natural disasters compares the magnitude and frequency of different types of disasters with the population affected by them. Through this, we see that disasters in the “global south” have a greater affect than those in the “global north” or “rich north”. In trying to understand this concept, I created an application that parses a database of disaster data (year, magnitude, location, displacement) and allows you to compare these sets of data at various scales.

Juncture is a participatory, public space, media environment about historical memory, cultural identity, and collective recognition in Los Angeles. The core content component of the environment is the Remapping-LA interpretive media database, containing thousands of historical images, videos, and sounds enriched by layers of metadata including temporal and geographical information, descriptive texts, and extensive tagging. Junction is a collaboration between REMAP/UCLA, California State Parks, Walt Disney Imagineering, and CENS/UCLA. Contributions included conceptualizing the interface mock-ups, participating in creative development, and producing online and print content.

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What began as a simple end of the year party ended in a culmination of art, music, community, history, technology, and last but not least—tacos. UCLA’s TFT course in Interactive Multimedia teamed with REMAP to explore the history of Los Angeles through the integration of cutting edge Nokia N83 mobile devises and Cisco Systems WiFi grid. We used these devices to map Los Angeles in innovative ways using GPS and REMAP’s massive image database.

Monumento 872 was, at it’s core, a way of sharing these “maps” with the community. Though the collaborative conception of our class, this event was born. We could not have made it happen without the support of the REMAP team, especially Vids Samanta and Jeff Burke. Vids was the key programmer who developed the Python software for the Nokia Devices. They were loaded with a “GPS medal detector” application. When you came in proximity of a defined GPS location, your device would be fed a “hidden treasure” in the form of historical information and images about the location you were at.

The event was a huge success with a turnout of over 1000 people of various sub-cultures from across Los Angeles. It took place a Chiperaki and the adjacent historical park just north of Chinatown. The event include various music artists performing in the park, a mixed media art show, taco truck, and the interactive devices.

This piece deconstructs the audio of Matmos’ “Germs Burn for Darby Crash” through a animated visuals in which the spectator is taken on an journey though abstract interpretation of internal physiology. The animations are controlled through live performance with a bandaged appendage. The piece was performed as part of the Visual Music Concert at UCLA’s Design | Media Arts department under the direction of Casey Reas.