advance backward

simulated image of adam being amazed at the capacity of the new zip disks
simulated image of adam being amazed at the capacity of the new zip disks

In 1998, I bought a Diamond Rio for $200. My life changed. I could take almost half an hour of high-quality, digital music with me anywhere. I had so much fun creating the ultimate 30-minute playlist every morning. I could walk to class or do shopping listening to music. After a few weeks, I sewed the device and my headphones into my jacket, so I would always have my personal soundtrack. Even though I couldn’t fit all of [amazon_link id=”B000006MTX” target=”_blank” ]Shostakovich’s 24 preludes and fugues[/amazon_link] on my Rio, I was patient. I mean, do I really need to carry around more than 30 minutes of audio?

After a while of this kind of behavior, I got over it.

In 2001, I set up my computer to serve an text file to my website, so when I had my computer on, the text adam is currently sitting at his computer would appear on the footer of every page.

And then I realized no one cared about status updates.

In 2005, I bought a Treo 650. I could now synchronize my iCal with my phone, work on Excel files wherever I wanted, and best of all, send rich text messages, with photos or video. I sent messages to everyone I could, and photos and videos to people who could receive them.

And then it just got old.

Wouldn’t you know it, but 3 things I really hate are:

  1. people constantly plugged in to headphones
  2. people constantly updating their status
  3. people constantly sending text messages

I feel justified that I binged when I did, because I was trying to get a handle on how these new things might affect my life. They were novel. So I binged, reflected, and backed off.

Notice the common term in my list above: constantly. Do people not realize that all these things are incredibly narcissistic? I never before wanted to smack someone upside the head because they weren’t listening to music in public. Do people hate silence? Do people just hate one another more now than they used to? They are certainly now more enabled to exhibit behavior that leads me to believe so.

(For this post I’m leaving out the blog I made in 1995 and got over, since I’m finally in to blogging. And, queue sad trombone.)


Jeweler by Design is a small, independently / family -owned custom jewelry shop in Moreno Valley. They do great work, which can be seen at the JBD website. JBD wanted music on the site, so I wrote ‘gems,’ in the playlist on this page  (…which is no longer being used).

This piece was rendered using Garritan Personal Orchestra.

artist statement 2010-04-28


For a thing done to be considered a work of art, it must be the result of the artist actively participating in the following 3 actions.


The idea behind a work of art which originates in the mental realm has been created.


The rearrangement of raw materials which trades one defined system of organization for another shapes the new arrangement to be recognizable as ‘something else’ when compared with how the raw materials started out before the artist was involved.


The spatial / temporal boundaries which contain the work establish a frame for where and when the artwork begins and ends. This action also takes place by seeing something in a new way.
components of art


An assumption I make when using proportions in placement, repetition, size, and so on is that mathematical (as in the golden ratio) and relative (as in a rectangle which has a length thrice its height) relationships can be detected at least on a subconscious level and in this way are interesting to the viewer.


When an artist uses another artist’s art, the other artist has had an active part in at least creating and shaping, and includes framing if the entire artwork was used. Examples of other people’s art (OPA) include photographing an uncited source, use of a font the artist did not create, and collage. My work seeks to be appropriation-free in order to maximize originality in the creative phase of art making.


Using ‘coded’ text places the content between data presented as information and focusing on the beauty of letterforms without getting stuck on intrinsic meaning of text.

Entries from old journals are used as form and arrangement ideas and a starting place for new works.

The use of only materials on hand at the time of starting a work emphasizes the self-portrait-nature of the work. Some of the art materials around my house I have had for 15 years.

Reusing previous works as elements in new works provides content for each phase of the process: an idea for creating, material for shaping, and analysis for framing.

optophonetic alphabet


the information below is to serve as an explanation for my proposed guidelines on the creation of a ‘phonetic ideal’ or ‘optophonetic’ alphabet,
which I call the optophonetic english alphabet.

the general guidelines

these guidelines explain the reasoning behind the shapes of the letterforms.

  1. the new alphabet must be unicameral.alphabets with more than one symbol representing the exact same letter
    are not as efficient as possible.
  2. for example, in the roman alphabet, the following symbols

    ambiguation from camerality
    all represent the same letter.

  3. each character must stand for only one sound.this is even more confusing than the problem mentioned above, for the same reasons.
  4. for example, each a in
    father, hat, lake, a
    rrow, and naught has a completely different sound.

  5. there must be characters representing the full range of sounds present in the language used.if there were characters sufficient to represent this range, there would not need to be phonetic explanations of how to say dictionary words.
  6. for example, there is no (normal, roman) letter for the schwa.

  7. the characters of the new alphabet must be derived from a process of
    cross-referencing frequency of sound and ease of mark.

    the orthographies of the roman alphabet used in the english language are based on neither frequency of sound nor ease of mark.

  8. for example, the simplest mark to make is a dot, which is only used for punctuation.

  9. the alphabet must be able to be read without anchors to define the orientation of the text.some letters rotated, inverted, or written backwards may be read as other letters.
  10. examples:

    ambiguation from orientation

  11. the characters must be able to be easily formed by any writing instrument and on any surface.closed counter-spaces and forms which have paths too complex to be followed by basic writing instruments can be difficult to write with certain instruments and on certain surfaces.
  12. for example, the letter s is difficult to scrape into clay; nib-pens scratch paper when writing in certain directions.

  13. the printed version of the alphabet must be identical to the written version.this is the same problem as the first rule.
  14. for example, one writes this symbol:

    ambiguation from writing

    and types this symbol:

    ambiguation from writing

optophonetic theory

these thoughts explain why the letterforms in the optophonetic english alphabet
have been chosen and included. there are 3 categories of letters: consonants, vocals, and vowels.

  1. consonants are straightforward sounds having no variations.
  2. hydrogen







  3. vocals are sounds with 2 variations. for each of the examples here,
    the non-vocalized version of the letter pair (the second one listed in each pair)
    can be heard if the first word is whispered.
  4. big prices

    very fine

    the thing

    good looking

    dark tower

    zen master

    visionary shape

    judge’s chambers (the letters in this pair are actually combinations of the dark
    tower and visionary shape pairs. hence,
    j is dzh and ch is tsh.)

  5. vowels are sounds which fill the spaces between consonants and vocals. there are (basically) 4 groups.
    this is the only group with actual dipthongs. some dipthongs are 2 vowels and some are a vowel and a consonant.
    in the latter case, the vowel takes on a unique sound when preceding the consonant.
    (the letters in th last vocal letter pair above are not dipthongs because the sounds only take up one syllable.)
  6. the e group

    international (the schwa sound)




    potato (dipthong of the 2 preceding sounds)

    the u group



    no (dipthong of the 2 preceding sounds)


    the a group


    ice (dipthong of preceding sound and see sound)

    naught (dipthong of father sound and winter sound)

    ark (dipthong of father sound and radon sound)


    now (dipthong of preceding sound and winter sound)

    the o group


    or (dipthong of preceding sound and radon sound)

text example


roman alphabet observation

I wanted to call this my roman type theory, but it’s just more of an observation of an interesting pattern. maybe after you read this, you’ll look at the alphabet differently, especially if you’re looking at the alphabet with something obstructing your view of most of it….

what is meant here by the roman alphabet is the characters used to represent the English language to English readers. if you are not familiar with this alphabet, you probably have not made it this far.

it is easiest to illustrate this observation step by step:

    1. consider only the top and bottom portions of the alphabet. write out the alphabet in order with these portions highlighted (brown), using a different color (red) for the 1st instance of each distinct top or bottom.
      alphabet with tops and bottoms highlighted

    1. remove each letter not containing the 1st instance of a top or bottom.primary instances of letter tops and bottoms only

    1. remove the middles of the letters and subsequent instances of tops and bottoms.middles removed

    1. condense the remaining tops and bottoms by shifting leftward.tops and bottoms condesnsed by leftward shift

    1. this is where the pattern becomes more obvious. there are only 6 distinct tops and bottoms in the roman alphabet. they are described below in the illustration as:
      • single point
      • line / curve
      • curve
      • line
      • double point
      • triple point

      the 6 distinct tops and bottoms of the roman alphabet

  1. the order in which these 6 tops and bottoms appear is illustrated below (and could also be 1/5 2 3 4 5/1 6, depending on how you look at it).the order in which distinct tops and bottoms appear in alphabetical order

in conclusion, not only are there only 6 distinct tops and bottoms, but the order in which they appear creates this interesting pattern. these numbers or shapes could be used to represent the alphabet as a whole.

the dark path of Boggle™

boggle cube spelling out the title of this postHere is some advice. Scenario: you’re playing Boggle™ and you’re able to come up with ‘bird.’ Congratulations. You must have read a lot of Highlights as a kid. But wait, what’s that? A suffix…for a noun. ‘-er.’ So now you have ‘birder.’ You have now begun your journey down the dark path of Boggle™, and your gaming partners give you that half-lidded Jon stare from Garfield.

garfield: july 22, 1999
look at those eyes

They mentally consider any number of arguable points perhaps including the following:

  1. A falcon is birder than a sparrow.
  2. An emperor penguin is birder than a non-emperor penguin.
  3. An ostrich is birder than a kiwi.

…and so on. But you were thinking of ‘birder’ as in ‘bird-watcher.’ You are now requested to give account for the difference between ‘birder’ and ‘ornithologist.’ The answer?
Money / education.

  1. farmer vs agriculturalist
  2. singer vs vocalist
  3. painter vs artist

Basically, ‘-er’ means amateur and ‘-ist’ means professional. However, you can’t just slap either ending on just any occupational description. After all, how far would you trust someone who claimed to be a gynecologer? Armed with the knowledge that the occupations described by the lowbrow / -er words can be carried out by anyone, what noun can not be a verb which can then be turned back into a noun? Floor – floorer, water – waterer, chronicle – chronicler… Okay, there are a few, like ‘cat,’ but you just add another ‘-er’ and you’ve got ‘caterer,’ the less professional version of group-gastronomist.
However, what is a racist, but one who competitively drives automobiles? Sure, there might be multiple meanings for that word, but that’s what linguists are for. (Or, depending on your resources, dictionariers.)
The point here? Don’t be tempted by the the dark path of Boggle™. Once you open the game up to this kind of insanity, your partners will trust you less. In other words, your fellow Bogglists will view you as a mere speller, a worder, an amateur…er.

flight plan

flight plan 2006-04-23

flight plan was a collaborative piece with mikeal stevens as a part of his master’s thesis at the memphis college of art and design. mikeal’s thesis, which you can find on his website, addresses the flow moment, when one is so focused on what one is doing, time becomes meaningless. for both of us, this happens during art production. also, mikeal experiences this during skydiving, whereas I experience this during music composition.

flight plan combines art, music, skydiving, and collaboration itself: during the performance, performers were tethered to my fingers via strings which resembled parachute cords. these cords operated the elevators on the wing system mikeal constructed and wore for the piece. there was a literal link between us during the piece.

vector 74

Vector 74 was going to be a side-scrolling space shooter. I wrote this music to be used for the title screen but never saw any actual work done on the game.

the four-fold demon

four-fold demon album art

the poem the four-fold demon was written by Daniel Hayes in 1995. it was read along with the music he asked me to write for it in 1999 as part of his undergrad senior presentation at Maryville College.

the music buttons interspersed throughout the poem indicate when they should be listened to while reading the text.

4fd recording

the mp3s below are rendered from a Roland SC-255. the music is that used in the 1999 performance, and appears along with the text.


the beastthe priestthe mystic poetdemon iv


sexdrugsrock & roll
The American Trinity
Justice for all
and to all a good night
He knows man, he knows
pimp, prophet, parasite
He won’t kill you, only
	brainwash you
with a little down time
poet, phool, promiser
He always keeps the
word he never gave
He is what he claims to be, 
	indefinable but
Roving step son of 
a spined Roman Consul

Shunned but with great intellect
	seeking the keys to the garden
gates past the

Songs of Roman passion are
his gripping
teeth’s forté
He’ll take things his own way
	He knows man, he knows


Come out now child

No more dreary daydreaming
In the roots of your mind
Come out with me and they
Those demons in your heart
Let them run and jump 
Amongst the craggy foothills
And cask filled fields
Forget what you know 
Your cells know more
Forget the god you’ve been
taught and the one you’ve
Let go of family and friends 
So that you might be free
And unchained to lay
On the white bed with pillars

Your day's meal will be my
kisses and your dreams will
be filled with my freeing
White sheets will tangle 
Around your soft thighs 
Like my love around 
your heart
Come and let us roll 
on soft as dove’s feathers
pillows and let it all 
go and flow from the 
primal corners of our souls

No more foolish trying or hope
We will do and live and
die and rot and be reborn
all in the twinkling of 
an eye and the demons 
will sing our song of
wasted motion to the 
tune of the fool’s anthem
Can you hear it? Beginning 
softly. Can you hear it?
I can, so come with me ,come
with me

the spinning cycles of the mind
sometimes cue on man’s divine
the little piece that like a prism
reveals always the demon’s schism
For if the four are in the one
then the beast must sometimes
	have his fun

I guess you’d say, "a gremlin
with a loose leash," but I’d
say, "A red faced demon in a
three piece suit." He knows
man, he knows and he lives
inside death’s wasted motion throes.

I rode my horse from forests deep
Where under heavy mists I’d sleep
And seek to strain my eyes to see
The pulsing vein of eternity
Where there all men would 
Bathe in blood
And sins released rise from
the mud
And stand upon the mountains high
And with a gesture command the 
But as I’d stumble through the 
Leading quite blindly wherever I 
The only veins that bled were 
my own
And no son of God’s on his son of
God throne
For the blood he’d bled was in my
And on my tattered clothes was
its holy stains
And if in my body then why not 
For surely we can see The Truth
of The Fall…surely, surely, 
surely…we can
listen on the wind.
listen on the silence.
listen to the men
and past all their lonely violence

for there is more to man
than imperfection
and there is less 
than divinity
something indefinable
but tangible
	deep and warm
		soft and old
Stone cold truth.

The Bride of Truth wears a velvet
Lift and embrace in the bridal 
chamber the beautiful mate.
Two are one and one is all.
Pierced or removed the veil becomes
clear. What lies beneath is 
something harsher than sand,
smoother than glass, stronger
than the steel of a thousand
skyscrapers reaching towards
the cage dome of the stars
each point is a joint, an 
intersection where infinite
impacts occur to a constant
jungle rhythm. Enticing
and enticed. "Lift me," it says,
"I want to ascend with 
your right hand oh Earth 
God. Gaze on me and the 
seer and the seen will
make what is now lived in 
and on. Earth and a thousand
others, constructing a cage 
dome of stars penning in 
the question from the answer.

Me to you is everything
	And the same as nothing
Without straining to hear
	Your invitation
And my acceptance
Make me real ancient veil 
	Velvet in texture and 
Together we will employ
Even the Elemental
	to do our
If we knew what we wished
Make me real 
Caresses and kisses
Almost there
	Winning over eternity
		to my side
			and its own
Two are one and one is all.
From a wet dream forms the 

Touching, yes, even that
is amazing in form
Rapid frictions against 
the air producing no reaction
Intent is everything
Hold me close veiled lover
I wonder, do you close your eyes
when we kiss? I do.
I close my eyes to the Bride of
And when they reopen themselves
I can’t help wondering if I
missed something I shouldn’t 
Are your eyes opened love?
Are your eyes open?


The past and future unite to 
	form time and time forms
Past, future, both depend upon
	perception’s bobbing anchor
	for substance
In the realm of the real
	and the sacred and the
	green there is only now
A shining tree sentinel
	growing towards life
			Are you?
There is only now

Vagrants eyeing pockets
And kings eyeing paupers
Perfectly inverted
in their matchbox foreplay
of slaughter and cycles
Perception will not hold.
	past, scrutinized
	future, unsure
Both the same shadows
of now
	and now
Souls measure events
	in tree rings
Fruits of our labors
Growing towards life.
Who are you?

We study illusion
to understand ourselves

Sweating hands holding
clocks, ticking metal 
hands without moisture.
Slavery and religion
No chants, only obedience
Placing hands in pockets
Dry now, soft metal
hands free to work
in fever dreams,
murder scenes, vagrants
and kings
Dry now and sane and slow
Minutes move themselves

I look through the 
one I cannot see and 
A great now appears
to me
and again, but new
and always now.

alternate 4fd mp3s

the mp3s below are rendered from a Roland SC-255. these pieces were written with the intention of doing a longer studio recording of the poem and music.

[ti_audio name=”the four-fold demon tape version” height=”120″]

brutal ground

Brutal Ground was basically going to be an RPG. I started work on it after meeting the developer over the internet. This is as far as the game got.