Forty-eight to Sixteen is my bicycle commute from Brooklyn to midtown Manhattan while wearing sensors for my heartrate, breathing, and the cadence of my pedaling, along with first-person video. Each of the three biometric sources dictates the timing of a musical line that is interpreted by cellist Topu Lyo.
The piece considers the rhythms of our physical effort as we encounter the city we live in and how we form kinetic memories that exceed the visual. I am also interested in 'performing' data and my and Topu's divergent but equally physical and temporal relationship to the information. This physiological yet data-driven empathy has implications for recent trends in media culture toward first-person viewpoints and the integration of biometrics into documentary.
Named after the gear ratio of my bike.