Fallen Water
Fallen Water explores questions about why humans are drawn to waterfalls and flowing water as a source for renewal. Waterfalls imbue subconscious associations with pristine and healthy drinking water, but what happens when the fountain can no longer renew itself? Is the water no longer pure? Cooley’s choice of subject matter strikes a deep chord with current social consciousness and anxieties about contemporary water usage and the drought crisis faced by the American West. Cooley references Blake’s famous quote from The Marriage of Heaven and Hell as context for the diametric opposites of the current water conundrum: our deep sense of entitlement to and dire dependence on this precious commodity, coupled with a pervasive obliviousness concerning the sources which supply it. As a way to connect with his personal water use, Cooley hiked into the mountains to see firsthand the snowpack (or lack thereof), streams, and aquifers which feed the water sources supplying his Los Angeles home. This multi-channel installation is an amalgamation of videos made over numerous trips to remote locations in the San Gabriel Mountains, the Sierra Nevada Mountains, and locales as far away as the San Juan Mountains in Southwestern Colorado. These disconnected video vignettes coalesce, constructing a large water landscape canvasing the gallery walls and floors – reflecting the disparate and widespread origin of Los Angeles’s drinking water. The colorspace within the videos is inverted, turning the water pink, orange and yellow—channeling an altered vision of water—in which something is definitely amiss: a stark reminder of the current water crisis in the state of California.
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The Olive Tree
SamMao
Don’t ask me where I’m coming from
My hometown is far far away
Why do I wander so far?
Wandering in the distant land?
For the little birds that soar through the sky
For the creeks that rush between the mountains
For the endless grasslands
Wandering afar, wandering

SANCTUAIRE
Sanctuaire it’s all about my relationship with Mexico City. A space filled with its own pure and special energy. To me is a never ending source of inspiration. This city is benefited of the powerful vibe, result of many factors provoked by its habitants. From far away, this city is characterized by a chaotic and indescribable movement. To be able to understand this, one must come close to realize that this apparent chaos is the manifestation of millions of individual actions from its habitants. Sanctuaire it’s going to be the visual manifestation of a mystical energy that transcends to the viewer. This piece gathers people in a cozy environment from which a light will be generated while levitating above the audience.

Waldian
Waldian is a standalone, wall hanging sound and light fixture capable of playing a near infinite amount of melodic permutations over a predetermined musical scale, complemented by emerging light patterns from twelve separate LEDs spread across the sculpture. In technical terms, Waldian contains two oscillators, an envelope generator and a voltage controlled amplifier, all controlled by impulses from a network of logic gates akin to those of early computers. These impulses are essentially the nerves in the electronic ecosystem, deciding over pitch and amplitude changes as well as creating bursts of light to highlight the entrances of each note. Finally, there is a tube overdrive stage that creates harmonic and subharmonics based on how far away the two oscillators are from each other in frequency. Most parameters are customizable, such as the aforementioned pitch, amplitude and overdrive, but the responsiveness and envelope of the light bursts can also be adjusted, directly affecting the appearance of the light patterns.

Vororte der Körper

Yves Netzhammer uses emblematic language for the visualisation of his between worlds. His digital worlds are peopled by a recurring stock of objects and figures both animal and human. Object and subject worlds touch and penetrate each other, merge or split away.Life appears to be in a constant flow: phases of construction alternate with those of decay.

Love Disorder
​Love Disorder is a one-room interactive environment, in which a video character talks to visitors and responds emotionally to their movements in the space. When you enter, you see a twelve-foot-high face on a video screen at the far end of the room. The face says: “I’ve been waiting for you” – or one of several other greetings. He’ll continue talking to you if you don’t move, but the emotional tone of what he says will change as you step closer to the screen – or turn away. This manipulative character uses a gamut of emotional ploys to stimulate your movement within the space. He knows if you’re coming or going, and the range of his response is varied and complex enough that most people find themselves interacting, as if directly addressed.
video

PITHOPRAKTA
During the 1950s and early 1960s‚ Iannis Xenakis represented an alternative avant­garde‚ with a radical approach to form and texture that rejected the serial mechanics of Boulez and Stockhausen‚ and involved a uniquely intense interpretation of ideas about probability and randomness. A world away from John Cage’s laid­back experiments[…] The two short orchestral works‚ Metastasis and Pithoprakta‚ are undoubtedly far more austere‚ more primitive in their overall effect‚ than the exuberant‚ hyperactive Eonta‚ whose ferociously demanding writing for piano and five brass players pulsates with the kind of creative energy that the orchestral pieces seek to suppress.