Brian House is an artist whose performances, installations, and interventions address the material articulation of time in data-driven culture. With a background in computer science, Brian's current practice-based doctoral research in music and media studies resituates Henri Lefebvre's Rhythmanalysis in a contemporary context. It proposes that understanding digital media through embodied rhythm is a means of overcoming the limits of representation and emphasizing a needed politics of ecological interdependence.
Brian's work has been exhibited in museums and galleries including MoMA (NYC), MOCA (LA), Cincinnati Contemporary Arts Center, Tel Aviv Center for Contemporary Art, Stockholm's Kulturhuset, Science Gallery Dublin, and Karlsruhe's Center for Art and Media, featured at festivals including Ars Electronica, ISEA, NIME, and Conflux, and performed at venues such as Issue Project Room, Platoon Kunsthalle Seoul, and The Stone. TIME, WIRED, The New York Times, Neural, Metropolis, and Univision Sports have featured his work, as has Creative Applications, Create Digital Music, and the Guardian online.
Previously, Brian was a member of the R&D Lab at the New York Times where his work was recognized by TIME in their "50 Best Inventions of 2011" issue. Brian has also led technology at the award-winning design studio Local Projects, developed interdisciplinary courses at RISD Digital+Media, Parsons Design & Technology, and at Columbia's Graduate School of Architecture. He has been an artist-in-residence at Eyebeam, MassMOCA, and the Rocky Mountain Biological Lab, and a fellow at the TOW Center for Digital Journalism. In 2015, Brian participated in a National Geographic-funded transect of the Okavango river system in central Africa as a technologist and sound recordist.
Brian comes from Denver and lives in Providence.